Music Commons^™

New Music For A New World: Robert Ashley’S Television Operas, Nicole Kaack

Theses and Dissertations

Robert Ashley defined the majority of his works as “television operas”—spoken narrative music for television broadcast. Analyzing Ashley’s works through their cross-disciplinarity, this thesis addresses the development of Ashley’s chosen medium; assesses his use of visual, linguistic, and musical structures; and interprets their basis in American cultural identity.

Does Gender Matter? Gendered Relations In The Recording Studios, Diane Wong

Theses and Dissertations

Only 8.6% of all recording engineers currently employed in the United States are women. To understand the influence of a woman’s gender in their recording career, this study presents their experiences from multiple angles – the recording studio business, women engineers’ obstacles, the recording education pipeline, and diversity and inclusion in the industry.

Monarch Butterflies, Ralph Mendoza

Theses and Dissertations

This piece is a continuation of capturing my experience from my trip to Paraguay. This first part, of a three part movement, attempts to describe the beginning relationship between Human and Nature. This piece focuses on the feeling of tranquility, anxiousness and destruction.

Student Recital: Lewis Armstrong Iv, Tenor, Lewis Armstrong Iv, Bobbie Kesler-Corleto

Student Recitals

No abstract provided.

Digital Sociology And Online Music Communities: Models And Lessons From The Internet, Kari K. Veblen, Janice L. Waldron

Visions of Research in Music Education

With the rise of the internet, work from the of fields of digital sociology, communications/social media studies, and online research methods have become increasingly relevant for music education scholars both investigating and facilitating music teaching and learning in online contexts. While opportunities for online music making, teaching, and learning activities have grown exponentially, the number of online places dedicated to music making, learning, and sharing has exploded with the arrival of COVID as much of the world moves online. What was once an option – going online to teach and learn music – has now become a necessity for most …

Identity, Memory, And Performance In The Time Of Pandemic: A Duoethnography, Terry Sefton, Danielle Sirek

Visions of Research in Music Education

How can a musician maintain her sense of self in quarantine, a self that is constructed by intertwined strands of creativity, performativity, and relationship? The hiatus brought about during the pandemic has created a lack for musicians and music educators, an absence or loss of professional identity and personal meaning. On March 12, 2020, we found ourselves shut out of the classroom and barred from the performance stage. Over the course of a year, we two musician-educators engaged in duoethnography as a way of documenting our experiences. It became a site where we could provide each other with a “destabalizing …

Music Education And The Shrinking Public Space: Implications Of Richard Sennett's Sociological Ideas For Music Education, Paul Louth

Visions of Research in Music Education

Richard Sennett’s theory that industrial capitalism triggered the gradual elimination of shared cultural symbolism and thus contributed to the impoverishment of civic involvement deserves to be revisited in light of its implications for music education in an age of global information capitalism. In 1974 Sennett produced an extensive examination of the relationship between public culture and public space, arguing that our response to large-scale social and economic forces over which we have limited control is to retreat from public cultural expressions and consequently from public life. Extending Sennett’s sociological argument, I contend that the subjectivizing of musical meaning may lead …

Perspectives On Social Realism Within North American Higher Music Education, Kyle Zavitz

Visions of Research in Music Education

This article critically examines the suitability of Social Realist perspectives within North American higher music education, with a particular focus on its relationship with jazz musical knowledges. Social Realist scholarship continues to emerge within the field of education sociology, driven by claims to contribute to student access and opportunity. In spite of this, scholars have continued to critique Social Realist perspectives for various reasons including maintaining an ideological status quo and devaluing the experiences of students, going as far as argue that Social Realist frameworks may in fact limit the access and opportunity espoused by its proponents. Drawing upon past …

In Search Of A Better World? Reconsidering Sociology And Music Education As Utopian Fields, Alexandra Kertz-Welzel

Visions of Research in Music Education

Music education research has in recent years been interested in defining music education’s societal mission. Concepts such as praxial music education, artistic citizenship, or an activist approach tried to determine that music education’s foremost task would be to transform societies. This seemed urgent in view of global crises. But is music education’s foremost mission really social change? To a certain degree, this is a sociological question. To answer it, a look back to the beginnings of sociology as a field of research is a promising way to go. When sociology emerged as a specific field of investigation, it was not …

Developing Visions For The Future? A Reflection On Utopias In Music Teacher Education, Tine Grieg Viig, Silje Valde Onsrud, Judy Lewis, Catharina Christophersen, Øystein Røsseland Kvinge

Visions of Research in Music Education

As society changes, new challenges arise for education. Major social upheavals have led to increasing awareness of social justice issues and critical reflection within the field of music education, as well as calls for social and educational change. In this article, five music teacher educators discuss how music teacher educators and pre-service music teachers can develop spaces for envisioning future music teacher education through utopian thinking. We consider utopias as social dreaming reflecting a desire for a better way of life, and utopian pedagogy as experimenting to envision new alternatives, tell new stories and construct new realities. The article starts …

Editorial: Special Issue For Selected Papers From The 12th Biennial International Symposium On The Sociology Of Music Education

Visions of Research in Music Education

No abstract provided.

“Foreign Soundingness” And Code-Switching Instead Of Translation: An Examination Of A Marketing Strategy In Contemporary Latino/A Music., Nerisha De Nil Padilla Cruz

Living in Languages

The focus of this investigation is to analyze the concept of “foreign soundingness” used by David Bellos in his essay “Fictions of the Foreign the Paradox of “Foreign-Soundingness” in the Latino/a music context. Specifically, it is interesting to see how code-switching between English and Spanish in certain songs can be used to connect with the US Latino/a community, but also be a “foreign soundingness” for the audience outside of the mainland. Additionally, I argue that due to the increase in the bilingual populace around the world, it is not necessary for contemporary artists to translate their music to a specific …

Director's Statement, Andrea Leland

Jamesie: King of Scratch

No abstract provided.

Inclusive Music Teacher Education: Valuing Breadth And Diversity Through Authentic Immersive Experiences, Rhonda J. Fuelberth, Robert H. Woody

Glenn Korff School of Music: Faculty Publications

In this report of self-study research, we share the insights we have gained working together at our institution to make undergraduate music teacher education more inclusive of how people naturally do music, focusing on three program features. First, we explain how our program affirms composition as a primary form of musicianship, similar to the status commonly given to performance. Second, we describe a vernacular music making experience in which our music education students learn to play “rock band” instruments, engage in songwriting, and explore being expressive in the styles of music personally favored by themselves and their future students. Third, …

Eoivc 2023, Lynn University Philharmonia, Guillermo Figueroa, Elmar Oliveira, Elmar Oliveira International Violin Competition

Elmar Oliveira International Violin Competition

EOIVC 2023 | January 15-29, 2023

Judges

• Andrés Cárdenes, Chairman of the EOIVC 2023 Jury
• Scott Flavin
• Ilya Kaler
• Ida Kavafian
• Irina Muresanu
• Almita Vamos
• Peter Zazofsky
• David Cerone

Accompanists

• Linday Garritson
• Belin Han
• Baiyao Ji
• Sheng-Yuan Kuan

Winner

• Hina Khuong-Huu

Mus 306: Music From 1900-1960, Kim Ranger

Handouts

This handout guides students to resources they'll need to complete assignments in the MUS 306 class. Given prompts and search tips, students will practice using Oxford Music Online, Find It!, and RILM. Saving citations and finding full text are covered. The handout also includes suggested search terms for research paper topics for this class.

Edgerton Center 2023/24 Season, Edgerton Center For The Performing Arts

Edgerton Center Programs

Edgerton Center for the Performing Arts season brochure for 2023-24.

Gamelan Gong Directivity Dataset, Samuel D. Bellows, Dallin T. Harwood, Kent L. Gee, Micah R. Shepherd

Directivity

No abstract provided.

The Portrayal Of Women In Opera: An Analytical Study Of The Music In Puccini's Madama Butterfly, Sophie Hage

Music Department Honors Papers

No abstract provided.

Parables Of Our Talons: New Jewish Stories For Electroacoustic Voices, Eli Berman

Dartmouth College Master’s Theses

This thesis is a creative portfolio of written and recorded experiments and performances from September 2022 to April 2023. The culminating piece of my portfolio is a ritual performance called GOLEMATRIAK. This ritual, along with the rest of my portfolio, weaves together khazonus (Ashkenazi Jewish cantorial singing), extended vocal techniques, and electronic dance music in Yiddish, Hebrew, and English. During a historic rise of global antisemitism and transphobia, GOLEMATRIARK is an exaltation of queer, diasporic Jewish power. The golem is a proto-robot made of inorganic matter that one animates through sacred Jewish texts. I have been creating my own golems …

Ethics In Kakadu (1988): Finding Djilile’S “True Tracks”, Natasia T. Boyko

Electronic Theses and Dissertations

Tasmanian-born Peter Sculthorpe (1929 – 2014) was one of Australia’s most iconic modernist classical composers of the twentieth century. Kakadu (1988) seems to have sparked the most controversy of Sculthorpe’s works and has become one of his most well-known pieces. In the program notes provided in the score’s foreword, Sculthorpe asserts that “the melodic material in Kakadu, as in much of my recent music, was suggested by the contours and rhythms of Aboriginal chant.” Sculthorpe attributed this melodic material to the Arnem Land chant, Djilile. Consequently, Sculthorpe has been criticized for extracting Djilile from its authentic context as …

Rhythmic Theory Pedagogy, Ways Of Knowing, And Experiential Learning, Ben Duinker

Journal of Music Theory Pedagogy

This article proposes an approach to rhythmic theory pedagogy that foregrounds the intersection of performance, creation, and analysis. Daphne Leong’s recent work on this intersection uses the German verbs wissen (knowing that), können (knowing how), and kennen (knowing of) to describe the different kinds of knowledge generated and utilized by theorists and performers. I use Leong’s theory to identify a mismatch, or gap, between what undergraduate students learn about rhythm in the theory classroom and what their practical needs are as music majors—a plurality of whom specialize in performance. As a means of remedying this mismatch, I use David Kolb’s …

Volume 37, Various Authors

Journal of Music Theory Pedagogy

Volume 37 of the Journal of Music Theory Pedagogy.

Reining In Pitch And Pitch-Class Motives: Rules For Improving Analytic Outcomes In The Tonal Theory Classroom, Brent Auerbach

Journal of Music Theory Pedagogy

Pitch-based motives proliferate in many styles of music and are routinely covered in undergraduate instruction. The treatment motives receive, however, is usually cursory. Tonal theory instructors have many reasons for skimming the motivic analysis unit, among them time pressures, underestimating the topic’s complexity, and the influence of textbook design. This standard rushed approach yields poor outcomes in which students are unable to reliably identify recurrences of a small set of motives over any musical span. They are as likely to apply brackets and labels indiscriminately to too many (trivial) events as they are to under-analyze large stretches of motivically-significant events. …

The Impact Thinking Framework: A Process For Adbancing Research-To-Ractice Initiatives In Neuroaesthetics, Susan Magsamen, Tasha L. Golden, Catriona A. Towriss, Joy Allen

Faculty Works

Neuroaesthetics research explores brain, body and behavioral responses to engagement with the arts and other aesthetic sensory experiences. Evidence indicates that such experiences can help address various psychological, neurological and physiological disorders, and that they can support mental and physical well-being and learning in the general population. The interdisciplinary nature of this work contributes to its impact and promise; however, it also creates challenges as various disciplines approach and define research and practice in varied ways. Recent field-wide reports have noted that a consensus translational framework is needed to support further neuroaesthetics research that can deliver meaningful knowledge and interventions. …

Necessary For Some, And Helpful For All: Preparing Music Educators To Reach Every Student, Rhoda Bernard

Faculty Works

The percentage of students in U.S. public schools who are classified as stu- dents with disabilities under the Individ- uals with Disabilities Education Act (IDEA) has been steadily increasing in recent years, and continues to grow. Unfortu- nately, music educators are not adequate- ly prepared to teach disabled students. Pre-service music teacher education pro- grams do not provide course content in the pedagogy of accessible music educa- tion. Any coursework related to students with disabilities that is provided by these programs is limited to general studies of the historical and legal aspects of special education. As a result, music teachers …

(Special Section, Hymns Beyond The Congregation Ii): “We’Ll Understand It Better By And By:” Nomenclature, Negotiation, And Naming Our Neighbors, Emmett G. Price Iii

Faculty Works

Hymns, whether composed for religious contexts or as expressions of spiritual reflection, are historically revered for their redemptive nature. For generations, Black Hymnody has cried out for Christological interventions to end shambolic and systemic oppression against Black people. The vicious murder of George Perry Floyd, Jr. on May 25, 2020 reverberated and initiated, as a catalyst, an overdue global awakening that sparked a catalytic moment for conversations too long deferred. Conversations that question how we experience and name things; how we negotiate trauma; and how we engage one another as neighbors. In many ways, the redemptive nature of hymns has …

Basic Pitch-Class Set Theory And Twelve-Tone Glossary, Oliver Chandler

GFA Refereed Monographs

An explanation of terms and symbols used throughout the monograph, together with an introduction to basic pitch-class set theory.

Tonal-Atonal Equilibrium: Reginald Smith Brindle’S Harmony Of Peace (1979) And El Polifemo De Oro (1956), Oliver Chandler

GFA Refereed Monographs

Reginald Smith Brindle once claimed that “a whole generation [of composers] dedicated their efforts in one way or another to the exploration of the field between tonality and atonality, and to the integration of serialism into a more accessible language.” But how was such integration actually to be achieved? Chapter 1 addresses this question from a music-theoretical perspective. In an attempt to explain how post-tonal harmonic progressions might “make sense,” Smith Brindle himself formulated theories of tension flow and tonal-atonal equilibrium in his 1966 textbook, Serial Composition. The former theory compares the number of consonant and/or dissonant intervals between …

Toward A Pandiatonic Serialism: Richard Rodney Bennett’S Impromptus (1968) And Sonata (1983), Oliver Chandler

GFA Refereed Monographs

One of the characteristic aspects of Bennett’s guitar works is his use of exclusively pandiatonic pc sets, and of his treatment of tone rows as generating complexes rather than as themes. Richard Cohn defines pandiatonicism (after Slonimsky) as “using diatonic scales without triads.” I use the term principally to refer to diatonic, non-triadic sets that are combined in (often freely) chromatic combinations. In the first of the Impromptus, the pandiatonic quality of the row’s constituent sets represents an almost incidental facet of the overall musical argument, which privileges more standard means of post-tonal motivic development. Pandiatonic sets account mostly for …