Musicology Commons^™

Reimagining The Flute Masterclass: Case Studies Exploring Artistry, Authority, And Embodiment, Sarah Carrier

Dissertations, Theses, and Capstone Projects

This work explores the flute masterclass as an aesthetic, ritualized, and historically reimagined cultural practice. Based on fieldwork that took place between 2017 and 2019 in the United States, in Italy, and on the social media platforms Instagram, Facebook, and YouTube, I argue that the masterclass—an extension of the master/apprentice system that dominates learning in the classical music tradition—is characterized by embodied qualities of artistry and authority. These qualities are not inherent, but are perceived through subjective, social, familied, and affective bodies.

Chapter One outlines the main themes and the research design. Chapter Two is a case study that analyzes …

Serving The Needs Of International Students: A Qualitative Study, Mandi Goodsett, Michael Baumgartner

Michael Schwartz Library Publications

This study attempts to discover the barriers that international music students encounter when using the library and conducting research at North American academic institutions. To these ends we implemented multiple semi-structured interviews. Most studies that have been conducted about international students and information literacy employ a survey, but other qualitative means of study reveal important insights into the needs of this population. In-depth qualitative research that explores the experiences of international music students has the potential to cultivate better understanding of this phenomenon so that music librarians and faculty can more effectively serve this distinct population.

“Blaspheming Beethoven?”: The Altered Bach Motive In Vaughan Williams’S Fourth Symphony, Ryan M. Ross

College of Education Publications and Scholarship

Vaughan Williams’s Fourth Symphony (1934) has elicited much discussion regarding its aesthetic nature and sources of inspiration. Early critics associated the work’s dissonances with a concession to continental European musical modernism, or with a depiction of the political tensions of 1930s Europe. More recent commentaries have noted its references to Beethoven, one of which the composer admitted to in print. These commentators have argued either that these references constitute a continuation of the Beethovenian tradition in the twentieth century, or that they present a critique of the German composer. This essay adds a new argument in favor of the latter …

Catalog Of Current Compositions, Dan Rager

Dan Rager