Music Performance Commons^™

The Life Of A Showgirl As A Cultural Artifact: What's Hidden By The Lipstick And Lace?, Crystal F. Haryanto

Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy

This paper develops a collage-based framework to holistically assess Taylor Swift’s highly anticipated first release after the Eras Tour concluded. The Life of a Showgirl, with sparkling promotional materials leading up to its October 2025 drop and polarizing critical reception following it, represents an entertainer’s lifestyle while still concealing what was alluded to behind the Eras Tour curtain. Rather than engage in a direct response to Showgirl, I critically evaluate positive and negative commentary from listeners regarding the album, and I thematically analyze lyrical concepts throughout Swift’s discography to contextualize Showgirl within the arc of her work. I …

2026-2027 Performance Forum - October 16, 2026, Rishi Gurnani, Sheng Yuan Kuan, Paola Nava, Hyunwoo Jeoung, Juanita Jaimes, Andrew Bures, Michael Shipps, Adam Weekes, Pual Brown

Performance Forum

No abstract provided.

The Performer As Stylistic Free Agent: A Historically Inspired Approach To Interpreting Manuel De Falla’S Homenaje, Yiannis Efstathopoulos, Maarten Stragier, Kristin Van Den Buys

Soundboard Scholar

Manuel de Falla’s Homenaje pour “Le Tombeau de Claude Debussy” presents a complex identity knot that reflects Debussyan Alhambrism back onto its inspiration, drawing from both classical and folk traditions. This is the first research project to approach that knot from the perspective of historically inspired performance. It identifies a fascinating counterpart to its complexity in the stylistically hybrid guitar practices that were common at the time Falla composed his miniature masterpiece. The authors therefore propose that a historically inspired performer of Homenaje can act as a stylistic free agent, traversing the continuum of styles that gave birth to Falla’s …

2026-2027 Performance Forum - October 9, 2026, Xiomara Ingryd Herrera, Nara Avetisyan, Joseph Gould, Rebeca Sierra, Isabella Swalm, Sheng Yuan Kuan, Omar Mata, Santiago Moreno, Michael Hunt, Jackson Tyler Wolf, Luke Guelcher, Kade Gordon

Performance Forum

No abstract provided.

The Verney Family And Their Guitars In France And England, 1643–53, Christopher Page

Soundboard Scholar

The five-course guitar was a fundamental resource for the Verney family from 1643 to 1653 as they sheltered in France, avoiding their creditors and escaping the state of civil war at home in England. Their papers from that period, comprising many thousands of letters and financial accounts, show them hiring a guitar-master, ordering new guitars in Paris and debating the relative benefits of lessons for their eldest son on the guitar as opposed to the lute. This article reproduces the key documents and considers the music that the Verneys may have played. The papers particularly show how an instrument often …

2026-2027 Performance Forum - October 2, 2026, Christopher Linson, Nara Avetisyan, Emma Joyce, Sheng Yuan Kuan, Zeek Mckinley, Rodrigo Rodriguez, Maria Savelyeva, Rebeca Sierra

Performance Forum

No abstract provided.

2026-2027 Performance Forum - September 25, 2026, Aidan Quintana, Ana-Maria Uzunova, Zion Pe Montebon, Joseph Gould, Rebeca Sierra, Mia Cotton, Noah Suarez, Kallen Hanzsek-Brill, Tayor Shorey

Performance Forum

No abstract provided.

2026-2027 Performance Forum - September 18, 2026, Owen Chen, Roberta Rust, Ian Lewis, Rebeca Sierra, Santiago Moreno, Sheng Yuan Kuan

Performance Forum

No abstract provided.

2026-2027 Philharmonia Season Program, Lynn University Conservatory Of Music, Lynn Philharmonia, Guillermo Figueroa, Kenneth Amis, Jon H. Robertson, Aidan Quintana

Philharmonia

Lynn University Wind Ensemble ("The Wind Symphony: Movement 4)

• Saturday, Sept. 19, 2026 at 7:30 p.m.
• Kenneth Amis, conductor

Lynn Philharmonia No. 1 ("Mystery and Revelation")

• Saturday, Oct. 3, 2026 at 7:30 p.m. and Saturday, Oct. 3, 2026 at 7:30 p.m.
• Guillermo Figueroa, conductor
• Kenneth Amis, tuba

Lynn Philharmonia No. 2 ("Halloween Spectacular!")

• Saturday, Oct. 3, 2026 at 7:30 p.m. and Sunday, Nov. 1, 2026 at 3 p.m.
• Guillermo Figueroa, conductor

Lynn Philharmonia No. 3 - Concerto Competition Winners' Concert

• Saturday, Nov. 14, 2026 at 7:30 p.m. and Sunday, Nov. 15, 2026 at 3 p.m.
• Guillermo Figueroa, conductor

Lynn Philharmonia …

Sunday Music Series: Carla Trynchuk & Elena Braslavsk, Andrews University

Concerts and Event Programs 2026-2027

Professor of Music and renowned violinist Carla Trynchuk and the equally renowned international pianist Elena Braslavsk present a joint recital under the Sunday Music Series.

2026-2027 Performance Forum - September 11, 2026, Xiaoyu Li, Sheng Yuan Kuan, Cheng Wang

Performance Forum

No abstract provided.

From Retrieval To Generation: Building And Evaluating An Ai Accompanist For Piano Duets With An Anticipatory Music Transformer, Sai Ruthvik Uppala

Masters Theses

Systems that accompany a live musician, such as ACCompanion, work by retrieval: they hold a written accompaniment and stretch its timing to follow the soloist, so they can only accompany music whose second part already exists as a score. This thesis asks whether that second part can instead be generated, and specifically whether a machine learning model can write an accompaniment for a piece whose score it has never seen. A player performs the primo, the melody; a model produces the secondo, the accompaniment; and a score follower places the generated notes against the live performance. If this works, a …

Ritual Action Reed Trio: September 4, 2026, Andy Nogal, Andy Hudson, Ben Roidl-Ward

School of Music Programs

This is the second program of the 2025-2026 season.

Kemp Recital Hall

September 4, 2026

Thursday Evening

7:30 p.m.

2026-2027 Performance Forum - September 4, 2026, Ziling Wang, Hanting Peng

Performance Forum

No abstract provided.

A Two-Winged Murcia: Spanish Dance, Italian Corelli, One Guitar, Ellwood P. Colahan

Soundboard Scholar

Review of Santiago de Murcia (1673–1739): Entre dos almas, by Stefano Maiorana (Baroque guitar).

So Much For Musicology: William Carter Plays Santiago De Murcia, Ellwood P. Colahan

Soundboard Scholar

Review of La Guitarra Española: Santiago de Murcia (1682–1732), by William Carter (Baroque guitar).

Creolized Baroque: Early Music In A Brazilian Key, Ellwood P. Colahan

Soundboard Scholar

Review of Iberian and Afro-Brazilian Music of the 17th Century, by Ensemble Banza, Rogério Budasz, (Baroque guitar).

A Living Source Report: Cristian Gutiérrez Plays Cifras Selectas, Ellwood P. Colahan

Soundboard Scholar

Review of Cifras selectas de guitarra, by Cristiano Gutiérrez (Baroque guitar).

Waltzing Into Silence: Time, Space, And The Afterword In Ravel’S Valses Nobles Et Sentimentales In Comparison With Schumann’S Davidsbündlertänze, Op. 6, Nora I. Bartosik

Dissertations, Theses, and Capstone Projects

This dissertation undertakes an analysis of Maurice Ravel’s Valses nobles et sentimentales for piano against the backdrop of Robert Schumann’s Davidsbündlertänze, Op. 6, a work with significant parallels in structure, character, and narrative. The Davidsbündlertänze are examined as a model for the Valses nobles et sentimentales, with an emphasis on the two works’ use of the waltz form, their structure as a series of miniature dances composed as a single cohesive work, and their inclusion of an afterword, or epilogue. The analysis draws from the extensive literature on Schumann’s piano cycles in order to apply similar techniques to …

Performing Hybridity: Solo Cello Works By Diasporic Korean Composers Isang Yun And Younghi Pagh-Paan, Sarah Song

Dissertations, Theses, and Capstone Projects

This dissertation follows my personal exploration of solo cello works by Korean diasporic composers Isang Yun and Younghi Pagh-Paan. While the study of postwar Korean music has long been discussed within an “East meets West” framework, my research aims to abandon such divisive binaries and explores the activity between two musical cultures during learning and performance. By engaging with a wide network of meaning (e.g., score-based, extra-musical knowledge, historical context), I track cumulative layers of discovery while considering a multitude influences from Korean and Austro-Germanic cultures as a second-generation Korean American. My methodology includes a reflective approach categorized in two …

Object (Im)Permanence: Toward A Hauntology Of The Violin, Pala Garcia

Dissertations, Theses, and Capstone Projects

Object (Im)permanence goes looking for the violin’s ontological uncertainties, its persistent historical specters, and its relation to things not fully present, no longer, or yet to come. Drawing on the history of the author’s own instrument as an inherited object, this study explores the violin’s strangest affordances: its capacity to hold a psychic charge, sustain absent presence, remotely activate somatic memory, and invite reciprocal relationality. Adapting the Derridean concept of “hauntology” as a framing for the violin’s spectral vitality, Object (Im)permanence imagines how a hauntology of the violin can account for its ontological uncertainties, logic of absent presence, and persistent …

Urban Counterpoint (1992–2003): The Piano Music Of Ed Bland, Joseph Vaz

Dissertations, Theses, and Capstone Projects

This dissertation analyzes the piano music of Ed Bland, a politically and philosophically vocal composer active in the second half of the twentieth century, whose music draws on both the European and American twentieth-century avant-garde, and on African American vernacular music genres from ragtime to hip-hop. A review of the historical and personal context for these pieces, and a detailed examination of the compositional processes used in this music, work together to demonstrate how Bland thought about the relationship between different musical genres and languages.

Through this combination of theory of musical genre, historical and biographical study, and detailed analysis …

Theoretical Analysis And Performance Interpretation In Thomas Adès’S Traced Overhead, Han Chen

Dissertations, Theses, and Capstone Projects

While many post-tonal composers avoid any inkling of tonality by embracing dissonance or breaking tonal resolutions, Thomas Adès does not shy away from the traditional harmonies that strongly relate to tonal music, such as the circle of fifths, major and minor triads, and the horn-call motif, but adopts several intervallic systems that govern all the notes, including aligned cycles, parsimonious voice leading, and the twelve-tone aggregate.

To examine how Adès uses these intervallic systems to repurpose traditional harmonies, this dissertation presents a close tonal analysis of his solo piano work Traced Overhead. Integrating historical, pianistic, and extramusical contexts, this …

Paragliding The Cliff Edge: Introducing Open Mic Studies. A Creative Response To Navigating The Post-18 Landscape For Young Adults With Send., James Tarling, Charlie Robinson, Nick Hall, Sammy Shepherd

Plymouth Interdisciplinary Education Open Journal

This conceptual article investigates novel ways of thinking about Open Mic Nights (OMN) – performance spaces understood as free, community arts and performance opportunities where the members of the public are welcome to perform music, poetry and comedy in front of an audience. For the purposes of this article, music-related OMN that take place in pubs or community centres are discussed.

The article is intended to be a primer for OMN studies that offers new and emerging trailheads for future research and discussion. Its central focus is how OMN may benefit the Special Educational Needs and Disabilities (SEND) community with …

Jury Recognition Recital: August 25, 2026, Illinois State University School Of Music

School of Music Programs

This is the first program of the 2025-2026 season.

Kemp Recital Hall

August 25, 2026

Monday Evening

7:30 p.m.

"Unsung Americans Sung" List Of Songs, W. C. Handy

Documents

List of songs in Unsung Americans Sung, a volume of African American music edited by W.C. Handy. The volume's thirty-eight songs range from ballads about specific historical figures, such as Frederick Douglass and Booker T. Washington, to arrangement of poems like Langston Hughes' "The Negro Speaks of Rivers."

"Let Not Your Heart Be Troubled", Russell Smith, Handy Brothers Music Co. Inc.

Documents

Sheet music for the sacred solo "Let Not Your Heart Be Trouble" with lyrics derived from the fourteenth chapter of the Gospel of St. John. The sheet music was published by Handy Brothers Music Co. Inc. and signed by W.C. Handy on December 30, 1946

"Opportunity," Signed Sheet Music, Walter Malone, W. C. Handy, Handy Brothers Music Co. Inc.

Documents

Sheet music for "Opportunity" with music by W.C. Handy and lyrics based on the poem by Walter Malone. The sheet music was published by the Handy Brothers Music Co. Inc. and signed by W.C. Handy on December 30, 1946.

"How Like A Rose Is Love," Signed Sheet Music, Hal Hode, Peter Tinturin, Handy Brothers Music Co. Inc.

Documents

Sheet music to How Like a Rose is Love published by Handy Brothers Music Co. Inc. and signed by W.C. Handy on December 30, 1946.

"How The First Song Was Born," Signed Sheet Music, Alexander Hill, Handy Brothers Music Co. Inc.

Documents

Sheet music for the Alexander Hill Ballad "How the First Song was Born" published by Handy Brothers Music Co. Inc. and signed by W.C. Handy on December 30, 1946.