Music Research Works

Permanent URI for this collectionhttp://hdl.handle.net/1903/1625

Browse

Search Results

Now showing 1 - 10 of 10
  • Thumbnail Image
    Item
    Risk assessment: Music students are at greater risk for being bullied
    (National Association for Music Education, 2019-04) Jones, Stephanie
    Jones summarizes the work of music education researchers Kenneth Elpus and Bruce Carter on the prevalence of bullying victimization among music and theatre performing arts students in the United States.
  • Thumbnail Image
    Item
    Public school music booster groups, 2015 revenue data
    (2018) Elpus, Kenneth; Grisé, Adam
    This is an anonymized version of the dataset underlying "Music booster groups: Alleviating or exacerbating funding inequality in American public school music education?" by Kenneth Elpus and Adam Grisé. Included here are the data in Stata and SPSS formats and Stata statistical code to replicate the analyses in the article.
  • Thumbnail Image
    Item
    The Status of Music Education in United States Public Schools - 2017
    (Give A Note Foundation, 2017-11) Foundation, Give a Note
    This publication reports on the findings of a nationally representative survey of K-12 schools in the United States that offer music education. Results are reported at the school and teacher level on the status of music teaching and learning at elementary, middle, and high schools in the United States as of 2017.
  • Thumbnail Image
    Item
    The Evolution of the String Quartet - A Composer's View
    (2015-05) moss, Lawrence; moss, lawrence
    The 1st movements of 9 String Quartets, from Haydn to Moss. are discussed with music examples. The 9 composers, in chronological sequence, are: Haydn, Mozart, Beethoven, Debussy, Stravinsky, Bartok, Schoenberg, Ligeti and Moss. Each quartet is introduced with a brief explanation of its historical importance in the string quartet genre, followed by a discussion of the compositional choices made by each composer. These choices are illustrated with brief musical examples and diagrams.
  • Thumbnail Image
    Item
  • Thumbnail Image
    Item
    Medieval Liturgy and Music I-II: Presentation at Autumn School in Ghent Belgium October 20 2014
    (2015-01-25) Haggh-Huglo, Barbara
    This presentation written and given by Barbara Haggh-Huglo on October 20, 2014, as part of the Autumn School held in Ghent, Belgium, provides an introduction, in Part I, to the chanted texts for the Mass and the Sacraments of Western Christianity in the Middle Ages, and in Part II, to the chanted texts for the Office and Votive Services. An extensive bibliography is included at the end of the PDF.
  • Thumbnail Image
    Item
    John Philip Sousa and ‘The Menace of Mechanical Music’.
    (Cambridge University Press, 2009) Warfield, Patrick
    In 1906 Appleton’s Magazine published John Philip Sousa’s most celebrated—and vitriolic— article, “The Menace of Mechanical Music.” In it Sousa predicts that piano rolls and recordings will end amateur music making in the United States. Modern writers have often condemned Sousa as a hypocrite (the Sousa Band was itself a major recording ensemble) and chastised him for failing to see the cultural and financial benefits of mechanical music. But, in fact, Sousa’s article was part of a larger scheme to gain public support for the 1909 copyright revision. It was also just one step in Sousa’s lifelong battle for composers’ rights, a battle with five distinct phases: (1) the debate over the right of public performance precipitated by the success of Gilbert and Sullivan in the United States, (2) a test of the limits of contractual obligations between performers and managers, (3) the instigation of an international copyright law, (4) the battle over mechanical rights, and (5) the ability of the American Society of Composers, Authors and Publishers (ASCAP) to collect royalties as related to public performance.
  • Thumbnail Image
    Item
    The March as Musical Drama and the Spectacle of John Philip Sousa
    (University of California Press, 2011) Warfield, Patrick
    John Philip Sousa’s phenomenal appeal for early twentieth-century American audiences lay in large part in the dramatic nature of his marches, their performance practice, and his own persona as the March King. Sousa was responsible for transforming the earlier da capo parade march into a linear work suitable for concert performance. When combined with the now largely forgotten performance practice of the Sousa Band, these marches became miniature dramas. Sousa’s famous marches, however, were seldom featured on printed handbills. Rather, the March King connected to his audiences by inviting them to take part fictitiously in concert programming by calling for Sousa’s marches as encores. Such encores not only allowed Sousa to remain humbly invisible on programs, but also provided audiences with the illusion of an intimate conversation with a celebrity entertainer, a conversation that reinforced nineteenth-century notions of American manhood. Through his advertising and concert work, Sousa strove to appear not as a distant celebrity, but simply as a more successful version of the Americans in his audience.
  • Thumbnail Image
    Item
    The Nature of Music
    (1987) Signell, Karl
    Ethnomusicologist Karl Signell proposes a fresh approach to thinking about music. In twelve half-hour programs originally heard on National Public Radio (USA), The Nature of Music series offers new ideas from the experts, from musicians such as violinist Yehudi Menuhin, from scholars such as Harvard psychologist Howard Gardner, and from people in the business such as record producer Amy Horowitz. It attempts a grand synthesis of old truths and recent discoveries about music, from psychoacoustics to biomechanics, from poetry to philosophy. By searching for universals, The Nature of Music asks what it means to be human.
  • Thumbnail Image
    Item
    Music in a New World: America's Ethnic Traditions
    (1982) Signell, Karl
    Music in a new world: America's ethnic traditions, a series of 26 half-hour audio programs, documents musical traditions brought to the United States by first-generation immigrants from around the world. Ethnomusicologist Karl Signell recorded their music and words on location across the country, from New York to Honolulu. Each program concentrates on a single ethnic group. Complete musical performances predominate; brief introductions by the program host and interviews with performers provide context. Further details and short audio samples can be found online: http://www.research.umbc.edu/eol/world/brochure.html