Music Commons^™

Performance Health For Saxophonists: Saxophonists Perspectives And Experiences With Playing-Related Health, Wellbeing, Injuries And Education (Cohort Study), Nicola Demandolx, Joanna Nicholas, Luke Hopper, Matt Styles

Research outputs 2022 to 2026

Saxophonists experience a high rate of performance-related injuries and wellbeing concerns, with limited research on player perspectives and lived experience to inform preventive or interventional methods. To address this gap, a cohort study was conducted with 14 saxophonists from around Australia, to gather perspectives and experiences on playing-related pain, injury, health, and wellbeing. A baseline survey and semi-structured interviews were used to gather a range of qualitative and quantitative data to provide a holistic overview of the cohort and their lived experience. Results indicated that the lifetime prevalence of a performance-related musculoskeletal disorder (PRMD) for saxophonists in this cohort was …

Teaching The Twenty-First Century: A Pedagogical Approach To Contemporary Violin Repertoire From Beginner To Advanced, Holly Workman

Theses and Dissertations

Violin pedagogy has largely ignored the last century of repertoire. Students finish their training with very few of the technical or musical skills required for the successful performance of contemporary music. This document discusses why newer repertoire should be added for all students and how teachers may introduce it to the traditional program of study without excessive disruption to the existing methods of teaching. Finding appropriate repertoire can be very difficult so this document includes a series of appropriate works which encompass beginner, intermediate, and advanced ability levels. Contemporary techniques must be taught in a guided manner and each chapter …

The Effect Of The Number Of Xylophone Bars On Student Comfort Level With Improvisation, Beth Trulson

Graduate Research Papers

The purpose of this study is to examine the effect of reducing the number of bars available on a xylophone on the comfort level and perception of improvisation quality in elementary-aged students. Subjects were third and fourth graders with no formal instruction in improvisation, but have experienced Orff-inspired instruction that included improvisation. Students were asked to improvise on an Orff xylophone in one of four ways: (1) only the pitches F, G, and A on the xylophone while playing for eight measures, (2) all bars on the xylophone while playing for eight measures, (3) only the pitches F, G, and …

The Music Education Gender Divide At The University Of Northern Iowa, Abigail Wendland

Honors Program Theses

While anyone with proper training can direct a band well, the definitive stereotype in music education is that male directors are the default. Women face a multitude of challenges when going into the field because of this stereotype, which is the direct result of decades of prejudice that are now historical tradition. These challenges include the perceived need to adopt a male persona while on the podium, the challenges of working as a public school band director while being a mother, and the guilt that accompanies many women in the field. Obstacles such as these have strongly contributed to the …

"Acoustical Bedlam": A Contextualization Of Beethoven's Christus, Leanna R. York

The Beethoven Journal

The premiere of Beethoven’s Christus am Ölberge at the Theater an der Wien on April 5, 1803, marked the composer’s first and only contribution to the complex tradition of the German oratorio. Since the genre’s inception at the turn of the eighteenth century, it reflected artistic, literary, and theological controversies of its day. Beethoven’s chosen theme, the passion of Christ, came with its own set of ever-shifting compositional and textual expectations, influenced by older traditions of sepolcri and staged oratorios (common in Vienna and at the court of the elector of Cologne after mid-century) and lyric works such as Graun’s …

Second Thoughts? Czerny, Beethoven, And The Ninth Symphony’S Choral Finale, Mark Evan Bonds

The Beethoven Journal

Sometime after the premiere of the Ninth Symphony, according to Carl Czerny, Beethoven told a small circle of friends that he had made a “wrong choice” in writing a choral finale, that he was resolved to write a purely instrumental finale in its place, and that he already had an idea in his head for the new finale. Czerny never committed this report to writing, but he did transmit it orally to three others who did: Leopold von Sonnleithner, Otto Jahn, and Gustav Nottebohm. Anton Schindler would later deny the report, but the available evidence strongly supports the veracity of …

Innovative Sonorities: Atypical Pitch Orders In Beethoven's Piano Trios, Yoko Maruyama

The Beethoven Journal

In his chamber music with keyboard, Beethoven famously emancipated the cello from its bass function to make it equal with the other instruments, as has been repeatedly noted. Some studies have also highlighted, partly in relation to this emancipation, the sonorous balance between strings and piano in Beethoven’s chamber works. The pitch relationship between the cello and violin in his piano trios has been less discussed, yet attending to both parts reveals a tendency to use an atypical order in which the cello’s pitch is set above the violin or between the violin’s chord tones. This tendency increases from Beethoven’s …

Review Of From The Ruins Of Enlightenment: Beethoven And Schubert In Their Solitude By Richard Kramer, Sarah Waltz

The Beethoven Journal

No abstract provided.

Review Of The Catholic Beethoven By Nicholas Chong, David Wyn Jones

The Beethoven Journal

No abstract provided.

Conference Report: 200th Anniversary Of Beethoven's 1824 Academy Concerts (Beethoven-Haus, Bonn, 2024), Mary Kirchdorfer, Cheston Humphries

The Beethoven Journal

No abstract provided.

Barbara Strozzi (1619-1677): Empowerment In The Life And Madrigals Of The Venetian Virtuosa, Abigail Rockhill Beckler

Dissertations and Theses

It is generally agreed upon that studying underrepresented women composers is vital to expanding the breadth of musical study prior to 1900. However, when teaching about lesser-known women musicians, it is often misconstrued that these women were simply “granted” a musical career by a man within their network, and that because society would not allow them a chance otherwise, the woman had little say in what happened next. This study will show that Venetian composer and virtuosa Barbara Strozzi (1619–1677) exemplifies the early woman composer who had personal agency in the flourishing of her career. While Strozzi was allowed certain …

Transformation Of Buddhist Musical Practices From The 7th-13th Centuries As A Response To Political And Social Disorder In Medieval India, Stephan Duran

Monsoon: South Asian Studies Association Journal

This article gives an account of the development of Buddhist musical practices on the Indian subcontinent from their earliest, datable instances, to the disappearance of Buddhist institutions from India proper, demonstrating the persistence of descendant traditions of Sanskrit Buddhist chant and song in contemporary Japanese, Tibetan, and Newar esoteric Buddhist communities. It is argued that the Buddhist musical theory and praxis of these three cultural spheres both preserve features of ancient and medieval Indian Buddhist music and sonically illustrate the transition from political and social order to de-centralized social organization, a shift that took place between the 7^th and …

Community Music, Counter-Stories, And Social Inequality In Central Florida's Music Spaces, Katia Destine

Honors Undergraduate Theses

Black working-class musicians have shaped American popular culture for centuries. Despite their contributions, they have faced decades of marginalization and exploitation by record companies, executives, and consumers. While systems of exploitation affect musicians of all backgrounds, Black working-class musicians are in a double bind, susceptible to both economic and social exploitation. Musicians who live within the subdominant groups of race, gender, and class frequently face obstacles that place them at a disadvantage. Through semi-structured interviews, the research draws on the lived experiences of Black working-class musicians in Central Florida. I argue that community music serves as a vital resource, offering …

Mediterranis, Antoni Pizà

Publications and Research

[Review of the book Mediterranean Musicscapes in Contemporary Spain: From Mosaic to Net, edited by Kiko Mora]

¿Existeix la música «mediterrània»? ¿Què tenen en comú Salomé, Lluís Llach, la Ruta del Bacalao i la narco-rumba? El Mediterrani musical, com la cultura mediterrània en general, ha estat sempre definida des de l’exterior. Historiogràficament, ha estat colonitzada. L’arqueòleg Johann Joachim Winckelmann (1717-1768) va quedar impressionat al s. XVIII amb les escultures blanques, pures, equilibrades de Grècia i va inventar una ideologia basada en aquestes falses premisses) oblidant que les escultures havien estat policromades abans de ser blanques, just per posar un …

Francisco Frontera De Valldemosa, Singer, And Voice Instructor, Antoni Pizà

Publications and Research

ABSTRACT:

This essay examines the career, as a singer and voice teacher, of Francisco Frontera de Valldemosa (1807-1891). Although his role as a music administrator at the service of the Spanish Royal Court, music theorist, and composer has been documented in previous studies, Frontera’s career as singer and voice instructor is less known. He learned the bel canto style directly from Rossini, whom he met in Paris, and other respected Rossinian specialists including Marco Bordogni, Antonietta, Giuseppe, and Luigi Mosca, Marianna Rossi, Domenico Vaccani, all of them Italian singers working in Barcelona and Palma. In Paris, his voice was praised …

Liner Notes On Black Trans Girlhood: Afrofuturist Affect & Black Popular Music As A Praxis Of Self-Fashioning, Shawn J. Williams

Theses and Dissertations

Liner Notes on Black Trans Girlhood: Afrofuturist Affect & Black Popular Music as a Praxis of Self-Fashioning interprets Black musical performance in identity-making, with a focus on how music and Black trans identity intersect and informs Black trans girlhood. As such, Black trans girls render ourselves legible, i.e. understood without shame or judgment, by constructing our identities through the music by Black women we listen and dance to, or watch and sing. These musical connections affirm the possibilities of Black femme expression. This expression of Black femininity is due to what I call an Afrofuturist affect, by which I refer …

Exploring The Shadows: How Taylor Swift's Music Embodies Dark Sound As A Popular Music Artist, Kristyn E. Cole

Theses and Dissertations (Comprehensive)

To challenge the conceptual matter of “dark sound”, this major research paper centers around the popular music artist, Taylor Swift to demonstrate an overarching feminist wisdom in an alternative style of music to identify how Taylor Swift presents and embodies qualities of “dark sound”. Research done by D. Ferrett, Theodor Adorno, Roland Barthes and Paul C. Jasen are used to examine her popular music, and its intersections and influence on our culture and society. Using multimodal critical discourse analysis, this research paper discusses three of Swift’s songs; “willow” (evermore, 2020) for her sound, All Too Well: The Short …

Rhythm Against Poethics, Jayvyn Dacas

Honors Undergraduate Theses

This thesis stages an auto-poetic ethnography that listens to, and moves with, the anterior spaces of Black life. Those murmurs, hums, musical hesitations, and infrastructural vibrations that refuse capture by dominant epistemic regimes. Drawing from Ramon Amaro’s reading of Sylvia Wynter, Katherine McKittrick and Alexander Weheliye’s reflections on sound, Fred Moten’s insights on displacement, and Tendayi Sithole’s attention to the phonographic, the project situates music production as method and unworlding. Through engagements with the 808, sampling, sound systems, and embodied listening across Florida. Spaces like the warehouse, the party, record stores, and community become the work of Black voices, and …