Music Commons^™

Inconvenient Truths, And Changes To Believe In: Foreword To The Forum, Jeannie Ma. Guerrero

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

This is a foreword to four papers that originated in the special session, “Ethnic Diversity in Music Theory: Voices from the Field,” at the November 2007 meeting of the Society for Music Theory (Baltimore). Inspired by the impassioned discussion period following the talks, the Committee on Diversity arranged to publish these papers to capture the session’s energy and channel it into a more permanent medium. This foreword, written by the moderator, highlights several issues that surfaced in the papers and in the ensuing discussion. The issues coalesce into a call for new action: diversity efforts have not worked in the …

Diversifying Music Theory, Youyoung Kang

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

This article is part of a special forum titled “Ethnic Diversity in Music Theory: Voices from the Field.” It begins with a narrative description of the author’s qualifying exam in tonal analysis for the Ph.D. program in music theory at Yale University. During the exam, which he failed, the author produced a hermeneutic interpretation of Brahms’s song “Der Gang zum Liebchen,” op. 48/1. The author then uses this experience as a point of departure from which to reflect upon issues of racial/ethnic diversity within Anglo-American music theory. Navigating between racial essentialism and race-blind universalism, the author offers critiques of statements …

Transformation In Rock Harmony: An Explanatory Strategy, Christopher Doll

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

Explaining one musical passage by saying it is a transformed version of another is a basic strategy of analysis. In this article, I explore this strategy specifically in regard to harmonic structures in rock music. By focusing on transformations that describe obvious musical experiences (as opposed to transformations that could be considered more rational than empirical in nature), I am able to explore the usefulness of concepts such as chord substitution and musical normality as they apply to our hearings, and as they apply to the ways in which we can make sense of our hearings via a notion of …

Strategic Intertextuality In Three Of John Lennon’S Late Beatles Songs, Mark Spicer

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

In a seminal 1985 article, Robert Hatten outlines a theory of musical intertextuality with the potential for a broad range of application. He suggests that intertextuality in music operates on two essential levels: stylistic and strategic. Stylistic intertextuality occurs when a composer adopts distinctive features of an earlier style without reference to any specific work in that style (such as the appropriation of high-Baroque devices in the string-octet accompaniment to Paul McCartney’s “Eleanor Rigby”). Strategic intertextuality is more pointed, occurring only when a composer makes deliberate reference to a particular earlier work or works, and this can involve a variety …

On Diversity, Amy Cimini, Jairo Moreno

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

This article is part of a special forum titled “Ethnic Diversity in Music Theory: Voices from the Field.” Diversity has a relatively short but complex history inseparable from a vexing politics of cultural recognition in, and economic access to, American higher-education institutions. The authors consider this history along three interrelated axes—juridical, socio-political, and subjective—in order to discern the relation of cultural recognition and economic access to the ethos of the neoliberal university and to the structure of democratic institutions in late capitalism. The programmatic labor of the Society for Music Theory’s Committee on Diversity (1996–2007) provides the empirical backdrop for …

The Musical Idea And The Basic Image In An Atonal Song And Recitation Of Arnold Schoenberg, Jack Boss

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

Schoenberg’s songs and recitations—tonal, atonal, and serial—can be understood by the perceiver as elaborating two kinds of framework, the musical idea and the basic image. The musical idea generally comprises an opposition of elements, an elaboration of that opposition, and an ultimate resolution. The basic image translates a visual image of some kind into a musical shape, which then serves as a starting point for further development. This article shows how the motivic and harmonic structures of two atonal works—Song 11 of Das Buch der hängenden Gärten, Op. 15, and “Nacht” from Pierrot Lunaire, Op. 21—can be …

The Musician’S Guide To Aural Skills, By Joel Phillips, Jane Piper Clendinning, And Elizabeth West Marvin. New York: W. W. Norton, 2005., Brent Auerbach

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

Review of The Musician’s Guide to Aural Skills

Diversity, Music, Theory, And The Neoliberal Academy, Sumanth Gopinath

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

This article is part of a special forum titled “Ethnic Diversity in Music Theory: Voices from the Field.” It begins with a narrative description of the author’s qualifying exam in tonal analysis for the Ph.D. program in music theory at Yale University. During the exam, which he failed, the author produced a hermeneutic interpretation of Brahms’s song “Der Gang zum Liebchen,” op. 48/1. The author then uses this experience as a point of departure from which to reflect upon issues of racial/ethnic diversity within Anglo-American music theory. Navigating between racial essentialism and race-blind universalism, the author offers critiques of statements …

The Expressive Role Of Rhythm And Meter In Schumann’S Late Lieder, Harald Krebs

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

Rhythm and meter are significant expressive elements in Robert Schumann’s music. Nowhere is his awareness of the expressive potential of rhythm and meter more evident than in his Lieder, where the presence of a text makes it possible to determine just what Schumann was trying to express. The author focuses on three practices: distortion of the poetic rhythm, metrical dissonance, and hypermetric irregularity. Only Schumann’s late songs are addressed, not only because they are generally less familiar, but also because two of the practices to be discussed (distortion of poetic rhythm and hypermetric irregularity) are especially common in them. This …

The Twin Legacies Of A Scholar-Teacher: The Publications And Dissertation Advisees Of Allen Forte, David Carson Berry

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

This article tabulates the publications and dissertation advisees of the music theorist Allen Forte; they are called the “twin legacies” of one whose work in academe has been devoted to both scholarship and teaching. The publications, issued between 1955 and early 2009, are divided into nine categories, each ordered chronologically: (1) Books; (2) Articles; (3) Addresses, Responses, Forums, and Discussions; (4) Introductions, Forewords, Editorials, and Memorials; (5) Encyclopedia and Dictionary Entries; (6) Reviews; (7) Letters to Editors; (8) Libretto Translations, Liner Notes, and Recordings; and (9) Editorial Work. Entries are annotated with one or more of the following subfields, as …

Manual For Ear Training And Sight Singing, By Gary S. Karpinski. New York: W. W. Norton, 2007. (And Other Texts By Gary S. Karpinski.), Marva Duerksen

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

Review for Manual for Ear Training and Sight Singing

Drei Nebensonnen: Forte’S Linear-Motivic Analysis, Korngold’S Die Tote Stadt, And Schubert’S Winterreise As Visions Of Closure, Edward D. Latham

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

Schenkerian analysis, yet they are uniquely qualified to highlight the presence or absence of closure at multiple structural levels. Works that present a thwarted linear narrative filled with obstacles and roadblocks embody a tragedy that is poignant to performers and audiences alike, and the type of analysis presented here captures aspects of that tragedy. An important stimulus to this investigation is Allen Forte’s focus on onset and closure throughout fifty years of writing on both tonal and post-tonal music. While in one sense this generalized focus helped him sidestep the controversy over prolongation in post-tonal music, it also served to …

In And Around Music Theory And The Academy: A Perspective, Horace J. Maxile, Jr.

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

This article is part of a special forum titled “Ethnic Diversity in Music Theory: Voices from the Field.” In a narrative style, it presents the perspective of a mid-career music theorist who identifies himself as African American. While this perspective uses personal anecdotes, childhood memories, and a little humor to frame the narrative, issues of diversity, marginality, and race are at the center of the discussion. Also presented are directed calls for the Society for Music Theory to make even greater strides toward engaging teachers and students from HBCUs (Historically Black Colleges and Universities) and other institutions that primarily serve …

Krystyna Żywulska: The Making Of A Satirist And Songwriter In Auschwitz-Birkenau Is Discovered Through Camp Mementos, Barbara Ann Milewski

Music Faculty Works

No abstract provided.

Illinois Chamber Music Festival Concert Series, Garrett Rapp ’10

News and Events (Discontinued Series)

No abstract provided.

Iwu Cello Camp Concert Series, Garrett Rapp ’10

News and Events (Discontinued Series)

No abstract provided.

Turner, Gregory A. (Fa 448), Manuscripts & Folklife Archives

Folklife Archives Finding Aids

Finding aid only for Folklife Archives Project 448. Paper: "Gene Townsend" written by Gregory A. Turner for a Western Kentucky University folk studies class.

Article: Pedagogy Of Master Clarinet And Saxophone Teacher, Joe Allard: A Panel Discussion, John M. Cipolla

Music Faculty Publications & Performances

This is an edited transcription of a panel discussion held at the International Clarinet Association's ClarinetFest 2008 in Kansas City, Missouri about the pedagogy of clarinet/saxophone master teacher, Joe Allard. I participated in the panel, along with another former student of Joe Allard, as well as with an author of a dissertation written about Allard.

Article: Pedagogy Of Master Clarinet And Saxophone Teacher, Joe Allard: A Panel Discussion, John M. Cipolla

Music Faculty Publications & Performances

This is an edited transcription of a panel discussion held at the International Clarinet Association's ClarinetFest 2008 in Kansas City, Missouri about the pedagogy of clarinet/saxophone master teacher, Joe Allard. I participated in the panel, along with another former student of Joe Allard, as well as with an author of a dissertation written about Allard.

Christian Voices In Musicology: A Report, Karen Demol

Pro Rege

This report was presented at a Dordt College Faculty Forum, April 23, 2009, in preparation for a summer seminar at Calvin College.

Las Ensaladas (Praga, 1581): Con Un Suplemento De Obras Del Género [Music Review], Antoni Pizà

Publications and Research

This new publication consists of three parts: volume 1 comprises a critical study of the music and its composers; volume 2 is a modern transcription of the Prague publication with a supplement including works by Flecha and other composers; and volume 3 is a box set that includes facsimiles of the extant four partbooks (the newly-discovered tiple, alto, tenor, as well as the already-known baxo; the quintus, still missing, had to be reconstructed for the edition).

Music And Language: Exploring An Artificial Music Grammar, Erica R. Knowles

Seton Hall University Dissertations and Theses (ETDs)

Research regarding the brain mechanisms that underlie music and language processing supports two main interpretations: domain-specificity and domain-generality. Evidence from neuropsychology literature, specifically from amusia research, supports domain-specific mechanisms (Peretz & Coltheart, 2003) but recent neuroimaging and behavioral evidence supports overlapping mechanisms, especially for syntax processing (Patel, 2008). The present study used an artificial music grammar in order to test participants' ability to learn a new music grammar as well as to observe a possible interaction between music and language syntax processing. Although participants were able to learn the artificial music grammar, a language task was not affected by errors …

"Korean Psalm (Psalm 23)" For Tenor Voice And Piano, Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by Sang-In Han (tenor) and Dominic Dousa (piano). The work is a setting of selected verses of Psalm 23 in Korean. It was composed for Dr. Han's lecture recital of Korean Art Song.

Lara Wagner, Vocals, Lara Wagner

School of Music Graduate Recitals

• LARA WAGNER, Vocals
• assisted by Martez L. Rucker, Piano Jordan Richards, Bass Jay Sawyer, Drums Terrence Massey, Trumpet Zach Lange, Trumpet and Flugelhorn Randy Gist, Tenor Saxophone Pat Laslie, Tenor Saxophone and Vocals Eric Bowman, Trombone Gordon van Gent, Guitar Andy Van Allsburg and Taylor O’Donnell, Vocals

Lara Wagner is a candidate for the Master of Music degree majoring in performance–jazz. She received her bachelor’s degree from the University of Wyoming.

Thomas, Patricia (Fa 400), Manuscripts & Folklife Archives

Folklife Archives Finding Aids

Finding aid and full-text paper (click on "Additional Files" below) for Folklife Archives Project 400. Paper: "Murder Ballads of Kentucky" written by Patricia Thomas for a Western Kentucky University folk studies class.

Highlights In Jazz Concert 296- Voices Of Jazz, Jack Kleinsinger, Danny Gottlieb

Jack Kleinsinger Presents Highlights in Jazz

Jack Kleinsinger presents Highlights in Jazz. The concert was held at The Tribeca Performing Arts Center, Thursday, May 14th, 2009 at 8:00 pm. Jack served as producer and master of ceremonies for the series of concerts. Artists for the concert include Kevin Mahogany, James Weidman, Melissa Slocum, JT Lewis, Bill Easley, Daryl Sherman, James Chirillo, Boots Maleson, Marion Felder, and surprise guest Carol Fredette.

Armstrong, Louis; Basie, Count; Caruso, Enrico; Cleveland, James; Cooke, Sam; Cotton, James; Gaye, Marvin; Gillespie, Dizzy; Guthrie, Woody; Hunter, Alberta; James, Elmore; Johnson, Robert; King, Albert; And Navarro, Fats., Howard Bromberg

Book Chapters

Contributions by Howard J. Bromberg to Musicians and Composers of the 20th Century.

Marshall University Music Department Presents A Senior Recital, Matthew Kelly, Matthew Kelly

All Performances

No abstract provided.

A Senior Recital, Maureen Seymour, Valerie Ore

Senior Recitals

Program listing performers and works performed

Voices Only Concert (May 6, 2009), Lindenwood University

Student Music Performance Programs

Program for Voices Only Concert (May 6, 2009).