RESEARCH AND CREATIVE SCHOLARSHIP REPORT 2 ^ INTRODUCTION 3

Introduction

ith the creation of an Assistant Dean esearch and creative scholarship in the Research position in the DWFOM and Don Wright Faculty of Music take many the subsequent support for Dr. Ruth forms. Some of us conduct the types of W Wright to serve in this capacity, the R research easily recognized and identified Faculty has been able to harness the creative as such by fellow academics and the broader scholarly work that occurs in the Faculty and public, as our outputs include books, journals make explicit that which is made public. The articles and conference presentations. For creative scholarly record of the faculty members, many others in the Faculty however, research both quantitatively and qualitatively, reflects is firmly rooted in the area the Social Sciences that of top faculties of music situated in a and Humanities Research Council defines as university that is known for its strong research research-creation. This includes creation for and teaching records. research and research for creation in many forms. Our composers research techniques This publication is the first of its kind for the and styles of composition, capabilities of Don Wright Faculty of Music and I congratulate instruments and voices, creative potential of Dr. Wright for this initiative. While students electronic means of music production, optimal recognize our teaching and we experience our musical materials for particular spaces among service daily, our research tends to be known myriad other areas, to allow them to produce by our colleagues in our discipline through our compositional work that is renowned both presentations, recordings, performances and in and throughout the world. Our publications in the various disciplinary circles. musicologists research practices from the very This publication represents a celebration of our earliest days of music-making on the planet, colleagues’ work and allows each of us, as well helping scholars preserve and catalogue the as colleagues across the campus, to reflect on material of the past, trace patterns within it and the creative scholarly work within the various retrace its origins and train artists in authentic disciplines in our Faculty. Congratulations to the performance practices. Others work within the faculty members for significant contributions area of production, researching to each of your disciplines, to the field of music past and cutting-edge music production at large, and to the research profile of the techniques and contributing to knowledge both university. on past practice and on current developments. Betty Anne Younker This also takes the form of contributing to the Dean art form in terms of recorded music products. collaboration with living composers and with other artists With more than 20 active research grants in a full-time Much of this work is award-winning, chart- to extend the limits of previously defined capabilities of faculty of just 42, and 18 research outputs per faculty topping material that you, or at least your their voices or instruments and push forward knowledge, member, the Don Wright Faculty of Music is a hive of children, are listening to. Our performers expression and technique in music. Music Education research activity, richly deserving its reputation as one of research the technique and repertoire for their faculty are changing the face of music education in North America’s foremost university faculties of music. voices or instruments and apply their findings in Canada, cherishing and nurturing traditions and providing performances in world-renowned venues and on a critical voice and new ideas for educators, to keep music Ruth Wright leading recording labels. They frequently work in a vibrant and powerful force in our society. Assistant Dean Research 5 4 ^ MEET OUR FACULTY ^ MUSIC PERFORMANCE STUDIES

s an established concert pianist, my pursuits justify artistic decisions regarding tempo as well as sound STEPHAN in research have been rich and rewarding with concepts for each of these solo works according to the numerous concerts and collaborations, solo physical state of Brahms during specific periods of his SYLVESTRE A recitals, performances with orchestras, CD life. It received a nomination in the category CD Recording recording publications, adjudication for national of the Year, Music of the Romantic Era at the prestigious and international music competitions, and scholarly Prix Opus Gala in , in January 2012. In addition, exchanges. I have been fortunate to receive support WholeNote magazine placed this recording alongside from Research Western as well as other sources for my Murray Perahia’s recent Brahms recording, stating that “... recording projects, adding two commercial CDs to my Sylvestre’s approach is much more romantic, but equally discography in recent years. I am presently working on appealing. His playing is introspective and thoughtful, completing a series of recordings of Brahms’ solo works imbued with a deep sensitivity. Tempos are considerably for piano from his middle and late compositional periods, more languorous, and he produces a wonderfully warm to be released under the label Production 21. and resonant tone from the instrument. If this is Brahms for the 19th century, so be it – Sylvestre’s masterful As a performing artist and scholar, my primary objective performance is a welcome presence in our sometimes has been to maintain a healthy balance between my harsh and too-technologically advanced world.” concertizing, teaching and recording activities, while sustaining their interdependent relationships. My A recording of the works for violin and piano by Karol performing schedule as a soloist and chamber musician Szymanowski with violinist Jerzy Kaplanek, which has has been very active. It includes concerts with orchestras, been supported by a residency at the Banff Centre for a professional recording residency at the Banff Centre for the Arts, has been released under Marquis Classics in the Arts in Alberta, invitation to be pianist-in-residence at 2013. This recording has been highly praised by critics, the 2010 Colours of Music Festival in Barrie, , and one of whom observed the following: “...outstanding numerous appearances at the highly acclaimed Festival of playing from both artists, with the wonderful Mythes, the Sound in Parry Sound, Ontario, among other concerts the particularly dazzling highlight of a terrific CD.” My in Canada and abroad. Collaborations with internationally work has also been acknowledged with the awarding of renowned artists and ensembles such as James travel grants to realize research and concert tours on the Campbell, Rivka Golani, Susan Hoeppner, Jonathan Crow, international scene, which included participating in the Mark Fewer, , Michel Strauss, , Seventh International Conservatory Week Festival at the the Penderecki String Quartet, the New Zealand Quartet, St. Petersburg Conservatory in Russia, a first for Western As a performing artist the New Orford String Quartet, Orchestra London, the University. I also instigated the signing of an international Niagara Symphony and Sinfonia also included an exchange agreement between Western University and the and scholar, my primary extensive tour with first chairs of the Israel Philharmonic Universidade Federale do Belo Horizonte, Minas Gerais, in objective has been Orchestra, in addition to concert tours in Brazil, the Brazil. to maintain a healthy Middle East and Russia. I have been invited regularly to give master classes balance between my I have had the great fortune of having my work recognized and lectures abroad and to be a member of national concertizing, teaching with excellent reviews and articles in media sources and international juries, including the Canadian Music and recording activities, in both Canada and abroad. My discography to date Competition, the Symphony Orchestra includes a total of seven commercial CD recordings Competition, the Glenn Gould School and the Montreal while sustaining and further recordings are projected under various International Piano Competition. Such activities provided their interdependent Canadian labels. My most recent solo recording of the me with further opportunity to make an impact in my field works of Brahms, funded in part by an academic grant of research and within the community by contributing to relationships. from Research Western, explored the aging process the forging of the next generation of young musicians and and its effects upon the human brain and ear. This new audiences for classical music. approach to the interpretation of these works aimed to 6 ^ MEET OUR FACULTY ^ MUSIC PERFORMANCE STUDIES 7

Introduction ANNETTE-BARBARA VOGEL

s a concertizing artist, my research of violin my CD French Women Composers of the 19th Century, music reflects the exciting diversity of today’s which was the recipient of the British International landscape in violin performance. This springs Record Review Award. In addition to these recording A from a curiosity to expand my repertoire, projects, my creative activity has included arranging push the boundaries of my knowledge, and fulfill my cello and piano sonatas by Chopin and Rachmaninoff desire for creativity in any form possible. In addition for violin and piano. Due to the extraordinary reception to believing that the performance of classics such as of these , which I have performed across Beethoven’s violin sonatas or Brahms’s violin concerto North America, I am continuing to pursue the creation of is indispensible, my zest for discovering, performing and further such works. recording high caliber, but often overlooked or forgotten, works of the violin repertoire guides my research Although I have been fortunate to have the opportunity activities. to perform throughout the world, most recently in countries such as South Africa, Chile, Romania, Poland, To this end, I have published 15 commercial CDs through Lebanon, and the United Kingdom, I am particularly prestigious international labels, as well as introduced proud of my musical engagements in Brazil. Through many of these works to audiences for the first time. This my collaborations with many of Brazil’s leading music is a specific challenge as a performer, because it requires professors, not only have I been privileged to concertize not only an exceptionally refined technique to execute and present masterclasses in over a dozen Brazilian these works, but also the ability to deliver a convincing cities, I have gained an appreciation for the wealth of performance. In a sense, being convincing is the ultimate fabulous Brazilian violin repertoire that I am excited to goal for any artist, and constantly thriving towards that perform during an extensive tour in 2015. goal is a passion of mine. Finally, I would feel that something was missing in my I get a kick out of My vast discography showcases the multifaceted artistic life if I did not maintain a healthy balance in my approach of my research activities, and consists of repertoire that included the works of living composers. discovering works concerti, solo works with piano, and chamber music. It has been a particular thrill to commission composers that have either One example of the impact of my research is the recent to write new works for me. One never knows what been forgotten resurgence of interest in the music of Jewish composer to expect, and the process of being involved in the Hans Gál. Gál’s music was forgotten after his escape creation of a new piece of music is a particularly unique due to diverse from Nazi Germany and consequent internment as an and gratifying experience. A current project of mine circumstances or enemy alien. My research into his complete works for is the European premiere (and second worldwide that have never violin, and subsequent premiere recordings, sparked a performance) of a Canadian violin concerto that I will revival of interest in Gal’s compositions amongst a new perform with the Romanian Arad Philharmonic in June received the chance generation of performers and musicologists. As a result, 2014. to be acknowledged. Gal’s music is now programmed regularly in European concert halls and is gaining well-deserved recognition in Since coming to Western University, I have received North America as well. grants from Western Research, (Commission) and the Ontario Arts Council, as well as Another facet of my research has documented the violin a €20,000 grant from Kunststiftung NRW/Germany. sonatas of women composers. I am currently releasing Though these research interests reflect my life as a a recording of works by European composers Ethel performer, they also inform and support my role as an Smyth, Elfrida Andrée, and Mel Bonis as a companion to educator. 8 ^ MEET OUR FACULTY ^ MUSIC PERFORMANCE STUDIES 9

at Acadia University and Mount Allison University, as well as organized conducting symposia for Western. Along with my national adjudicating and guest conducting engagements, I have been invited to conduct or present my research in the Introduction United States, Ireland, Switzerland, Italy, Indonesia, Japan, and COLLEEN Taiwan. RICHARDSON Within the wind band community, the Teaching Music Through Performance in Band series is considered to be one of our most significant repertoire and curriculum resources. Many universities are using the first volume as a textbook for their band techniques classes. Secondary school band directors use them for pedagogical ideas and as repertoire resources. I have been asked to contribute to this series for the most recent seven volumes, including the revised first edition. I have also been asked to write articles for the Canadian Winds and the Canadian Music Educator Journal. These articles focus on pragmatic topics, such as the score analysis of Canadian compositions, the comparison of curriculum models, repertoire selection and pedagogical strategies.

Albany Records in New York released the University of Western Ontario’s Wind Ensemble CD, Apparitions, in 2011, for which I was the conductor and producer. The CD is available on iTunes and through Amazon. Within the wind band community, producing recordings featuring one’s own university band has become one of the primary publication activities for university wind ensemble directors. Currently, it is one of the best ways to hear and learn about new repertoire for the genre. Because new university wind band scores are not carried by local retail stores or accessible in music libraries, many conductors will purchase the scores only after they have heard a recording of a worthy Albany Records in new piece. Also, the profession is finally enjoying the benefits of New York released having more than one recorded reference or interpretation of a work. Orchestral conductors have typically had access to many the University of more resources. Apparitions includes the first professional Western Ontario’s recordings of three pieces, as well as three other pieces that Wind Ensemble had only one extant professional recording when this project began. In addition, Canadian content is represented by the CD, Apparitions, in world premiere of Jason Noble’s Doppelpolitik. 2011, for which I Recently, GIA published a DVD set, Three Icons Frank Battisti, was the conductor Donald Hunsberger, and H. Robert Reynolds, and I served as an and producer. The Associate Producer and Editor. This conducting reference is CD is available larger in scope than any other published wind band rehearsal or performance DVD, because it features three of the most am co-ordinator of bands, direct the Wind Ensemble, techniques, Messiaen’s compositional techniques, and the on Itunes and venerated wind band pioneers rehearsing and conducting four and teach undergraduate music education classes rhetoric of 20th-century avant-garde artists within Varèse’s of the most important works written for the medium. I chose as well as graduate courses in conducting and compositions and works of art by Marcel Duchamp. through Amazon. and edited all of the content for the Hunsberger DVD, as well as wind literature in the Don Wright Faculty of Music. I directed the film crew throughout the process. My research focuses on wind literature, chamber wind As a conductor pedagogue, I have provided intensive repertoire, conducting pedagogy, ensemble rehearsal conducting clinics for students and local music educators 10 ^ MEET OUR FACULTY ^ MUSIC PERFORMANCE STUDIES 11

The creative process is enhanced when one PATRICIA has direct access to the composer, GREEN and this emphasis he focus of my research is on vocal works features works for unaccompanied voice written on works by by living composers, with a secondary within the last 30 years by composers from Wales, living composers emphasis on Canadian composers. The Scotland, England, Germany and Canada. While T creative process is enhanced when one has there is a large catalogue of a cappella works, allows me to direct access to the composer, and this emphasis they are rarely performed or recorded. Fanfare assist in promoting on works by living composers allows me to assist in Magazine reviewed this recording as “…excellent promoting the growth of knowledge and research of performances... a remarkable collection of music…”. the growth of vocal repertoire internationally. A second recording made possible by Research knowledge and Western is Unsleeping: Songs of Living Composers, research of In my performing career, I have had the pleasure featuring works by R. Murray Schafer, W. Killmayer, of collaborating on the performance and creation J. Harvey, A. Hajdu and R. Sierra. Gramophone vocal repertoire of new works with international composers magazine had these words of praise, “ Wagnerian- internationally. such as Louis Andriessen, Pierre Boulez, David sized mezzo-soprano voice in this appealing and Del Tredici, Pascal Dusapin, Andre Hajdu, Alice varied repertoire...keen story-telling skills.” The Ho, Heinz Holliger, R. Murray Schafer, Shulamit third solo recording, funded by the B.C. Canadian 10 Ran, Hilary Tann, and George Walker, to name a Music Centre is The Ice Age and Beyond: Songs of few. These works have reached audiences in small Canadian Women Composers, featuring works by communities, university concert halls, and major E. Doolittle, A. Ho, B. Pentland, I. Panneton, and K. international performance venues. Most recently, I Agócs, representing female composers from across worked with the world-renowned Aventa Ensemble Canada, and performed in collaboration with pianist to collaborate with both Michel Gonneville (Québec) Midori Koga (). Presenting my and Michael Finnessey (U.K.) on new compositions. research in the creation of commercially available Gonneville’s Cantate de la dette perpétuelle recordings is immensely rewarding, and it adds to (Cantata of the unredeemable debt) premièred the accessibility of the research, giving it true global and toured to New York and across Canada in early reach. Many broadcast recordings on national radio 2014. Finnessey’s work will be premièred in 2015. in Canada, the U.S. and Europe expand the scope as Major international engagements include work well. with important ensembles such as L’Orchestre de Radio France, Dutch Radio Orchestra, Northern An important aspect of outreach is giving master Israel Philharmonic, New Music Concerts (Toronto), classes and serving on peer review committees. I Ensemble Parallele (San Francisco), Washington have had the honour to serve on committees for Bach Consort, Left Bank Concerts (Washington), the Ontario Arts Council and the Canada Council Cygnus Ensemble (New York), New for the Arts, as a judge for the national Eckhardt- Music, and the now defunct Theatre Chamber Gramatté and Canadian Music Competition as well Players of the Kennedy Centre, led by Leon Fleisher, as adjudicating at regional and provincial music with whom I performed for eight years. festivals. It has been my pleasure to give master educational experience that is enriched by the diversity The Canadian Music Centre advertises with the classes across the United States and Canada. of context, style, musical language and literature found slogan “the greatest music you haven’t yet heard.” An My research is represented on 11 commercial Through these events, the research and work of the in the works of living composers. Having sung in more important Canadian composer, , titled his recordings: three solo recordings of works for university are passed on to the community and the than 12 languages, including Russian, Mandarin, and rare autobiography, Unheard of. If one great living composer voice by living composers on the Blue Griffin musicians of the future. dialects such as Axonian and Pumatter Titsch, my work does not suffer this fate, my research will not be in vain. label; and eight performances on collaborative with students on language has been greatly enhanced. recordings. The most recent solo recording, La Voix As an educator, my research has allowed me to bring Performances given on campus provide the students with Nue, released in August 2013, was made possible a current, global perspective into the classroom the opportunity to engage with living music in a tangible by a grant from Research Western. This recording and teaching studio. I am able to provide an and meaningful way. 12 ^ MEET OUR FACULTY ^ MUSIC PERFORMANCE STUDIES

Introduction SOPHIE ROLAND

y research has always covered a wide breadth collaborative pianists, assistant stage directors and of activities since my undergraduate years. My conductor students from all over Canada and abroad interest in drama, musicology, and obviously with an intensive three-week workshop in which M voice shaped my master and doctoral studies, skills for operatic rehearsal and performance are and eventually my career. In addition to being an active explored and sharpened. Students receive musical and performer as a mezzo soprano, I have created two elite dramatic coachings, direction in character research summer programs (Canadian Operatic Arts Academy and development, special seminars on selected topics (COAA) and Accademia Europea dell’Opera (AEDO)) (repertoire, diction, professional development), and dedicated to the training of operatic musicians. I was sessions in stage deportment (movement, combat, recently awarded a substantial grant from Western and dance). The academy concludes with a public International to help with the expansion of AEDO. presentation of operatic scenes prepared during the As a performer, I have sung in many of the operatic course of the workshop. It has developed into an annual styles and languages. From Baroque operas to more program with high visibility throughout North America. contemporary works, I have recently sung the roles of Maddalena in Verdi’s Rigoletto, Maurya in Vaughan Accademia Europea Dell’Opera is an international operatic Williams’ Riders to the Sea, Carmen in Bizet’s Carmen, preparation program in which Western University and Dido and the Sorceress in Purcell’s Dido and Æneas, Centro Studi di Luigi Boccherini in Lucca, Italy, collaborate Storge in Handel’s Jeptha, Suzuki in Puccini’s Madama in producing multiple staged operatic productions Butterfly, Cornelia in Giulio Cesare, and Nicklausse in within a four-week period. The participants come from Offenbach’s Les Contes d’Hoffman. While the majority of all over the world, receiving seminars, master classes, these productions took place outside of Canada (Europe coachings and lessons in preparation for fully staged and United States), it has also always been a priority for performances. The faculty is international in its make-up, me to sing locally and involve our direct community in many of whom are prominent in the operatic world. AEDO our musical activities. In addition to my operatic credits, will be transitioning into an institute in which vocalists, I have kept an active concert schedule appearing over directors, conductors, instrumentalists, composers, the years with ensembles such as Orchestra London and musicologists receive discipline-specific training in with Timothy Vernon and Alain Trudel, L’Orchestre operatic production. Symphonique de Trois-Rivières under the baton of Jacques Lacombe, the Windsor Symphony with John I have regularly been invited to give master classes, clinics, Morris Russell, the Chamber Choir, the Evansville workshops across Canada, the U.S., as well as in parts of Philharmonic Orchestra, the Indianapolis Chamber Europe (Netherlands, Germany, France, and Italy). This Orchestra, Symphony Hamilton, London Fanshawe past year, I had the honour of working in the prestigious Symphonic Orchestra, and the Kitchener-Waterloo Netherland Opera Studio in Amsterdam as head of Symphony. I was featured singing in Jean-Claude voice. I believe in the education of music, in sharing our Labrecque’s film, Infiniment Québec and on the artist experiences with the next generation, in inspiring young Jorane’s compilation CD, Jorane X. artists and all of my research activities have these goals in mind. For this reason, I recently became Chair of the Since 2009, when I created COAA, I have continued to Music Performance Studies Department where I hope develop, organize, and yearly implement the program to have a positive impact on the musical lives of our on Western’s campus. The course provides singers, students. 14 ^ MEET OUR FACULTY ^ MUSIC PERFORMANCE STUDIES 15

JOHN HESS

am a pianist and Head of Collaborative Piano. My an historic occasion, being the first invitation to a new research falls into two broad areas: my work as a Canadian opera and company to this venue. Queen of pianist and that as director of Queen of Puddings Puddings Music Theatre continued to tour internationally. I Music Theatre an opera company specializing in new Love Songs (music Ana Sokolovic, selected love poems), Canadian works. During the past 20 years, my research- an opera for solo female singer, premiered in March creation work has changed the face of new Canadian 2008 in Toronto and then toured to Montreal, Vancouver, opera both in Canada and on the international stage. I and Ljubljana, Paris, the prestigious Holland Festival in fellow musician Dáirine Ní Mheadhra co-founded Queen Amsterdam and the International New Music Biennale of Puddings Music Theatre in 1994. The company was in Zagreb where it was declared best production of the Toronto-based and the recognized Canadian leader in the festival. In 2009, the company presented INĔS (music commissioning, development, and production of original James Rolfe, libretto Paul Bentley), an opera inspired by Canadian chamber opera. The company’s aesthetic of a Portuguese Fado music, and in 2010 Beauty Dissolves In A physical, singing theatre showcased the performer as the Brief Hour (music Pierre Klanac, Fuhong Shi, John Rea), a central force with the instrumentalists integrated into the Chinese Mandarin, English and Medieval French language dramatic action. All productions utilized an all-Canadian triptych which premiered to audience and critical acclaim team. and began touring in 2011.

Highlights of Queen of Puddings’ Music Theatre’s 20- In June 2011, the company premiered Svadba– Wedding year existence include spectacular company successes by Ana Sokolovic to huge critical acclaim. This dazzling such as world premieres of Beatrice Chancy (1999) and opera scored for six female singers, a cappella, and sung The Midnight Court (2005). Written by composer James in Serbian, epitomized the company’s aesthetic of a Rolfe and librettist George Elliott Clarke, Beatrice Chancy physical singing theatre. Svadba– Wedding won the 2012 is the first and only opera about Canadian slavery. This Dora Mavor Moore Award for Outstanding New Opera premiere was met with enormous critical and audience and toured to Paris, Orléans, Belgrade, Dublin, , acclaim and launched the career of Canadian soprano Edmonton, and Vancouver in 2012-2013. Measha Brueggergosman. Touring engagements for the opera included Halifax (Eastern Front Theatre) and In February 2012, in association with Canadian Stage Edmonton (presented in a co-production between the Toronto, the company presented Beckett: Feck It!, a My goal has been Citadel Theatre and Edmonton Opera). CBC TV made a wildly provocative show juxtaposing Samuel Beckett’s film of the Queen of Puddings Music Theatre’s production shorter plays with contemporary classical music from to commission and which was broadcast across Canada in February 2001. outstanding Irish composers inspired by his appreciation produce original This film subsequently won two awards at the New York for the absurd. Canadian opera to a Festival’s International Television competition. In October 2001, Queen of Puddings Music Theatre won a Lieutenant In October of that year, I was awarded the Opera Canada high artistic standard, Governor’s Arts Award for demonstrating exceptional Ruby Award 2013 in recognition of my distinguished and to develop an private and community support. career as musician, producer, conductor and educator in international profile the Canadian operatic community, and particularly for the The Midnight Court opera premiered at Harbourfront work with Queen of Puddings Music Theatre. for this work. Centre Theatre in June 2005. Written by composer Ana Sokolovic with libretto adaptation by Paul Bentley, it My goal has been to commission and produce original was invited to the Royal Opera House, Covent Garden in Canadian opera to a high artistic standard, and to develop London for three performances in June 2006. This was an international profile for this work. 16 ^ MEET OUR FACULTY ^ MUSIC RESEARCH AND COMPOSITION 17

Introduction ROBERT TOFT

ver the years, I have pursued a variety of ways in which these two rich traditions are closely research interests, but my primary focus related. In 2011, Continuum published my first book has been the performance practices of on popular music, Hits and Misses: Crafting Top-40 O singing from the 16th to the 19th centuries. I Singles, 1963-1971. have given lectures and master classes on historical principles of interpretation in Australia, Britain, My research has been widely praised by both Canada, Ireland, Switzerland and the U.S. and first performers and scholars. My most recent book, Bel became interested in coaching singers as a young Canto: A Performer’s Guide, has been called “the accompanist (lute), who realized that early-music book on bel canto for 21st-century performers” and specialists could bring scores to life in exciting ways has been characterized as “a must-read for singers, by rooting their performances in period treatises. teachers of singing, vocal coaches, and conductors”. In the early 1980s, very few researchers studied My other books have been described as “obligatory historical approaches to singing, and so I embarked reading” (Aural Images of Lost Traditions), “of pivotal on a long and rewarding journey to base my vocal importance to scholars, musicians, performers” coaching on older principles of interpretation. (Tune thy Musicke to thy Hart), “all should read this book to dispel modern myths about bel canto” (Heart Along the way, I wrote a PhD dissertation and six to Heart), and a “fine book” that “may well help you books, the first one on the problems of deciding what understand why [your songs] keep missing” ( Hits notes performers actually sang in Josquin’s motets and Misses). In addition, two of my articles have been (Aural Images of Lost Traditions: Sharps and Flats in anthologized in collections of “the most important and In 2013, I was the Sixteenth Century, University of Toronto Press, influential published articles” that have “shaped” their awarded a SSHRCC 1992) and then on eloquence in the first golden age respective fields (historical performance practices Insight Grant of English song (Tune thy Musicke to thy Hart: The Art and popular music studies). of Eloquent Singing in England 1597-1622, University (Research-Creation) of Toronto Press, 1993). I next turned to the bel canto In 2013, I was awarded a SSHRCC Insight Grant for the project style of the late 18th and early 19th centuries (Heart (Research-Creation) for the project “From Research “From Research to to Heart: Expressive Singing in England 1780-1830, to Public Performance: Historically-Informed, Re- Oxford University Press, 2000), and have just finished creative Singing,” a project that involves training Public Performance: putting my many years of coaching and research into singers in the old methods of singing practised Historically- two practical guides (Bel Canto: A Performer’s Guide, between the 16th and early 19th centuries. The Oxford University Press, 2013 and With Passionate primary outcomes will take a recorded form, and the Informed, Re- Voice: Re-Creative Singing in 16th-Century England recordings will enable professional musicians, the creative Singing”, and Italy, Oxford University Press, in press). academic community, and the general public to hear a project that for the first time what earlier vocal music might have In addition to my interests in the history of sounded like when performed more from within the involves training singing, I took a lead role in developing Western’s culture that produced it. In other words, the project singers in the old undergraduate programs in Popular Music Studies translates written descriptions of historic singing methods of singing and Music Administrative Studies (while Chair of techniques into sound so that knowledge housed on the Department of Music History), and for the past the printed pages of treatises and scholarly studies practiced between decade, I have added research in popular music to can be transferred to the largest possible community the 16th and early my activities. I am keen to break down the barriers of users. that exist between “classical” and “pop” and have 19th centuries. published several articles that demonstrate specific 18 ^ MEET OUR FACULTY ^ MUSIC RESEARCH AND COMPOSITION 19 w

Introduction

JAMES GRIER pursue research in textual criticism and editing music, medieval music, especially that of medieval Aquitaine, and popular music since World War II. My books include I The Critical Editing of Music (1996), The Musical World of a Medieval Monk: Adémar de Chabannes in Eleventh-Century Aquitaine (2006), both with Cambridge University Press, The History of Musical Notation (forthcoming from Cambridge University Press) and a palaeographic study of the music hand of Adémar de Chabannes (forthcoming from Brepols). My critical edition of music copied by Adémar de Chabannes (989- 1034) appears in the series Corpus Christianorum Continuatio Mediaevalis (Brepols, 2012). I have also published articles For the period 2009- in Journal of the American Musicological Society, Journal of 12, I was awarded Musicology, Early Music History, Acta Musicologica, Plainsong a Killam Research and Medieval Music, Musica Disciplina, Revue d’Histoire des Textes, Speculum, Scriptorium and Journal of Medieval Latin. Fellowship and My research has been supported by grants from the Social Fellowships from the Sciences and Humanities Research Council of Canada, and a Morse Fellowship while at Yale University. In 2002-3, I held the National Endowment Edward T. Cone Membership in Music Studies at the Institute for the Humanities and for Advanced Study, Princeton. For the period 2009-12, I was the American Council awarded a Killam Research Fellowship and Fellowships from the National Endowment for the Humanities and the American of Learned Societies Council of Learned Societies for my research in the foundations for my research in of musical literacy in the medieval West. the foundations of I taught in the Department of Classical Studies, University of musical literacy in the Waterloo, Mount Allison University, and the School of Music at medieval West. Queen’s University, before joining the Department of Music, Yale University, where I taught for seven years. I joined the Faculty of Music, Western University in 1997, and have held the rank of professor here since 1999. 20 ^ MEET OUR FACULTY ^ MUSIC RESEARCH AND COMPOSITION 21

OMAR DANIEL

compose orchestral, vocal, chamber and I have cultivated relationships with a number electroacoustic music in the classical of the finest concert presenters in the tradition. I am the recipient of a number country: New Music Concerts, Soundstreams I of awards, including the most significant Canada, and the Esprit Orchestra have award for chamber music in Canada: the Jules each commissioned me three times. Most Leger Prize. Other composition awards include recently, Soundstreams commissioned an the 2007 K.M. Hunter Arts Award, the SOCAN innovative ‘lobby’ composition that involved National Competition for Young Composers audience participation in the creation of an and the CBC National Radio Competition for electroacoustic composition ‘on the spot.’ Young Composers. The concerto idiom is one of my most I have an affinity for working with other artists. significant areas of research. I have written six My ongoing relationship with the Penderecki concerti (all on commission), the most recent String Quartet has resulted in more than 20 for the horn virtuoso and conductor James performances of Annunciation (commissioned Sommerville. by CBC Radio 2), most recently at the prestigious Ars Musica festival in Belgium. The My recent research interests are preoccupied Penderecki Quartet also commissioned, with with the integration of ancient Estonian folk the Banff Centre, myOdysseus and Penelope; songs (Regilaulud) into my compositions. an adventurous work for string quartet, live This has resulted in a number of important electronics and dance. I have commissioned compositions: Metsa Maasikad, Üheksa Eesti text from renowned writers Yann Martel, Regilaulud, and Violin Concerto. Anne Michaels and Michael Redhill. My project with Anne Michaels, The Passion of The concerto idiom Lavinia Andronicus was a large-scale oratorio is one of my most premiered by the Hilliard Ensemble and the Tafelmusik Choir, and my opera The Shadow significant areas (libretto by Alex Poch-Goldin) was produced in of research. I have 2009 to critical acclaim. written six concerti (all on commission), the most recent for the horn virtuoso and conductor James Sommerville. 22 ^ MEET OUR FACULTY ^ MUSIC RESEARCH AND COMPOSITION 23

JAY HODGSON JAY HODGSON

mostly teach courses in songwriting and project my research, I most often answer first with a list of paradigm record production in the Popular Music creative successes: in the last few years alone, I have Studies program at Western, and I have overseen mastered, mixed and produced hundreds of tracks I a number of creative projects for the MA in for record labels as far afield as Sierra Leone, Berlin, Popular Music & Culture. These subjects and activities Ibiza, Chicago and Montreal, and many of my masters have only recently found welcome in university have topped Beatport’s global techno and house music departments but, with the proliferation of charts; I have composed music for films featured digital-audio arts programs around the world, already in Rolling Stone and Spin magazine, which have represent one of the significant areas of academic screened at the United Nations General Assembly, musical inquiry that can be said to be expanding. and for national advertising campaigns by institutions such as the YMCA; and I write songs professionally for Since there is no single correct method for writing a Fields of Blonde, a music publishing company located song or producing a record, and because songwriting in Chicago. I have written two books about record and record production techniques are almost production, for Continuum Press and Wilfrid Laurier the last few constantly changing to reflect and capitalize on University Press, the first of which was recently years alone, I have innovations in recording technology, those of us acquired by the Rock & Roll Hall of Fame Library and charged with creating this innovative academic field’s Reading Room, and has been adopted in university mastered, mixed core curriculum must remain active as songwriters classrooms around the world, such as at Duke and produced and record producers ourselves, lest the activities University and Humboldt University of Berlin. I also hundreds of we teach and study “pass us by,” as it were. Those adapted an American survey of 20th-century rock of us who work in this field are thus partially tasked music for the Canadian market, for Oxford University tracks for record with defining an innovative and new academic Press. This material has helped train students who labels as far position, namely, the creative-scholar, who situates have engineered Juno-nominated records, co-written afield as Sierra their creativity – in my case: songwriting, record and produced Top 40 hit pop songs, among other production, and laptop musicianship – in academic successes, and who have gone on to pursue graduate Leone, Berlin, contexts. It is for this reason that, when asked about study in related fields. Ibiza, Chicago and Montreal, and many of my masters have topped Beatport’s global techno and house charts; 24 ^ MEET OUR FACULTY ^MUSIC MUSIC RESEARCH RESEARCH AND AND COMPOSITION COMPOSITION 25 PAUL y approach to music composition is based 31, 2013, at Koerner Hall, Toronto. Esprit Orchestra, on an attitude to embrace and reflect directed by Alex Pauk, performed this work. The work upon the complex sonic landscape that was commissioned to mark the 30th anniversary FREHNER M surrounds us in Western urban centres. concert season of the Esprit Orchestra. The Stuttgart What I find fascinating about the artistic environment Chamber Choir and TorQ Percussion Quartet, PAUL in these cities is how it is enriched by the complex directed by Frieder Bernius, performed Corpus for two confluence between serious culture, pop culture, chamber choirs and percussion quartet in a premiere FREHNER ethnic musical traditions, urban subcultures and tour. The tour included concerts in Toronto, Ottawa, a plethora of artistic trends. It also intrigues me Edmonton and Mannheim (Germany). Other recently that while we are moving forward in the arts and in premiered works include Voluptuous Panic (2010), society, we are always reminded of our historic past for 14 players (2010), that toured Victoria, Munich, through ubiquitous convergences of the old with the and New York, with the Aventa Ensemble, directed new. This is especially evident in the sprawl of urban by Bill Linwood. Berliner Konzert* (2009), a Triple architecture, where one regularly sees such disparate Concerto for Piano Trio and String Orchestra was edifices as a modernist skyscraper, a gothic revival composed in celebration of the 20th Anniversary of cathedral or a building from the art deco period, side the fall of the Berlin Wall. Its premiere tour in 2009- by side. The musical sounds of city life are much the 2010 included Toronto, Hamilton, Ottawa, Kitchener same. and Heilbronn (Germany) with the Gryphon Trio and the Wurttemberg Chamber Orchestra Heilbronn, While embracing an urban-influenced diversity in my directed by Ruben Gazarian. God Save the Human work, my focus is on creating pieces that are personal Cannonball, written in 2009 was composed for 15 expressions voiced from a unified viewpoint, in other players and toured Victoria, Munich, Copenhagen and words, from the particular musical language that I New York, N.Y., with the Aventa Ensemble, directed by speak. Bill Linwood.

My works have been commissioned and/or Compact Disc recordings have been made of five of performed by an array of outstanding Canadian and my works: “Ke-te.” Cycles, CD. Shawn Mativetsky- international artists, ensembles, orchestras and opera tabla. Ombú inc. OMBU1015, 2011. “Oracle.” The Road companies. Included among these are Soundstreams Ahead. CD. The Attar Project. Parmela Attariwalla- While embracing Canada, the Stuttgart Chamber Choir, Almeida Opera, violin; Shawn Mativetsky-tabla, percussion. an urban- Aldeburgh Productions, Continuum New York, the Canterbury Music, Toronto, ON. ATTAR 2010-3. influenced Montreal Symphony Orchestra, the Esprit Orchestra, “Quarks Tropes.” Trio Fibonacci 5x3. CMC CD15710. Aventa Ensemble, the Prague Philharmonia, the Centrediscs 2010. “Song of the Soul.” Night Chill: diversity in my Malaysian Philharmonic Orchestra, the North Holland Catherine Meunier - Marimba. CD15109, Centrediscs work, my focus is Philharmonic Orchestra, the Estonian Philharmonic 2009. “Finnegans Quarks Revival.” Brigitte Poulin, Chamber Choir, the Tallinn Chamber Orchestra, Édifices naturels. CD. DAME, CQB 0805, 2008. on creating pieces BIT20 Ensemble, the CBC Vancouver Orchestra, the that are personal Winnipeg Symphony Orchestra, Orchestra London, In 2012, I was the recipient of the K.M. Hunter Artist expressions voiced Brigitte Poulin, the Ensemble contemporain de Award in Classical Music, administered by the Montréal, the Gryphon Trio, Le Trio Fibonacci and the Ontario Arts Council and in 2007 I was honoured from a unified Quasar Quartet. Since joining Western’s to be awarded the Claude Vivier National Prize in viewpoint, in other Faculty of Music in 2006 my works have received the Montreal Symphony Orchestra’s International words, from the more than 120 performances throughout Canada Composition Prize competition for Lila, a composition as well as in the U.S., South America, South Africa, for two spatially separated orchestras. particular musical Germany, Denmark, England, Ireland and India. language that I

Recent highlights include premiere performances speak. and tours of various compositions. Phantom Suns (2012), for large orchestra was premiered on January 28 ^ MEET OUR FACULTY ^ MUSIC RESEARCH AND COMPOSITION 29

PETER PAUL KOPROWSKI

n the new Millennium, I continued with the flurry radio, on camera and press interviews, can be seen as of activities that characterized the last decades of benefits of this award. the 20th century. The Jean A. Chalmers’ National I Music Award for four orchestral compositions, the The new Millennium saw some important two Jules Leger Prizes for two chamber works and the performances and other events of consequence. (interdisciplinary) Victor M. Lynch - Staunton Award The American premiere of Elegia for the Polish Youth, of the 20th century were followed by Order Polonia sung by Maria Knapik with the New York Grand Opera Restituta, Juno nomination (for Viola Concerto) and Orchestra under Vincent La Selva in Carnegie Hall, the National Arts Centre Award of the 21st century. was one of them. Elegia was written as a companion The last, which is currently in the middle of its tenure, piece to the Symphony of Sorrowful Songs by H. M. provides the main thrust of my present day creative Gorecki, and has been performed together with it activities. At this point one orchestral work, Podhale, in New York and on other occasions. It was written was written and performed twice by the National Arts for a special Memorial Day concert in Canada’s Centre Orchestra under the baton of maestro Pinchas capital, commemorating the lives lost to violence and Zukerman. Three other orchestral works (Sinfonia oppression. Concertante, Epitaph and In Memoriam Karol Szymanowski) have received multiple performances An event of note was a performance of Epitaph for One orchestral under the baton of Zukerman and some were included Strings at the opening concert of the International in touring. Furthermore, two other orchestral works Organ Festival at the Oliwa Cathedral in Gdansk, work, Podhale, will be completed within the period of this residency: Poland. The Baltic Philharmonic was conducted in this was written and Concerto for Violin and Orchestra and Concerto performance by Wojciech Michniewski. Equally of note Grosso for double bass and chamber orchestra. This were the earlier performances of Epitaph in Berlin and performed twice last composition will be written specifically for Joel Paris, under the baton of Pinchas Zukerman, during by the National Quarrington, the bass virtuoso and currently the the NACO’s tour. The Accordion Concerto continued Arts Centre principal player with both, the London Symphony to receive successful performances in Canada and Orchestra (U.K.) and the National Arts Centre Europe. Twice it was performed in Amsterdam in Orchestra under Orchestra of Canada. 2008, and again in 2010 in Lisbon, Portugal. Ancestral the baton of Voices continued to be performed in Canada and Other than writing music and rehearsing it with the abroad, including performances in Tanglewood, maestro Pinchas orchestra, the title of Award Composer commands U.S. and Caracas, Venezuela, at the concert Zukerman. not only certain benefits but also places certain commemorating the 50th anniversary of diplomatic demands on me. Adjudicating the music of younger relations between Canada and Venezuela. A book composers for the NAC Summer Program, sitting on with illustrations pertaining to several sections of this a jury of Canadian compositions, sitting on a panel composition, by a Venezuelan/American writer and discussion concerning orchestral music in Canada, graphic artist Juan Plaza, was completed. Tapestries representing the National Arts Centre during the of Love, following its premiere, was released on a Golani, Robert Aitken and respectively, performances of several other compositions, as well as Culture Days - are some of the above mentioned CD with soprano Maria Knapik and the Kingston with the Toronto Symphony Orchestra under Jukka - lectures and pre-concert talks, took place in a number of responsibilities, while meeting the national sponsors Symphony Orchestra under the baton of Glenn Fast, Pekka Saraste, as well as the Piano Concerto with Janina different locations. of the National Arts Centre and being interviewed adding to the previously released CDs with concerti Fialkowska and the Kitchener - Waterloo Symphony for their benefit, meeting people, as well as providing for viola, and accordion, performed by Rivka Orchestra under Raffi Armenian. Numerous other For further details: ppkoprowski.com 30 ^ MEET OUR FACULTY ^ MUSIC EDUCATION 31

PAUL WOODFORD

y primary research interest is in how music and principles and to the most contentious issues of the music education shape consciousness, that day—in which music and music education are themselves is, our perceptions and understandings of the often implicated—so that they are better prepared to M social world. Far from being just entertainment participate in political life. For example, in a recent and or decoration, music and music education have many controversial article published in the Canadian Music shifting social, political, economic, and other meanings Educator (2009) and entitled “Why Canada Does Not knowledge of which is vital if children and adults are to Have National Music Education Standards,” I outlined develop critical awareness of their significance in their some of the history of educational politics in the United lives. Historical, musical, sociological, and philosophical States and Canada to remind Canadian teachers that they inquiry are employed as critical tools for challenging need to have a strong sense of their own history, culture, children and adults to pay critical attention to the and place in the world if they are to develop a vision of ideologies and social, political, and economic forces at their own and not simply mimic American educational play in society, and including in music education, so that policy and practice or rely overmuch on business for they can achieve at least a modicum of control over their professional direction. The article was later cited as an own lives. Over a period of 30 years, this research agenda exemplar of the kind of argumentation and scholarship has resulted in 67 published works, including six books, that is needed if the music teaching profession is to several monographs and edited collections of conference mature (Colwell, 2012). proceedings, 15 refereed chapters, 30 journal articles, five encyclopedia entries, and many conference papers and Other recent articles and chapters published in the United keynote speeches. When published in 2005, my book States, England, Germany, and Spain traced the roots of Democracy and Music Education: Liberalism, Ethics, and a tendency toward political avoidance among western the Politics of Practice (Indiana University Press) was music teachers to early Cold War politics in America described by a prominent critic as “one of the best books (and before that to political conditions in 19-century in our field in the past decade” (Colwell, 2005). Since Germany) and to the rise of neo-liberalism as a global then, it has been quoted widely, including by Alex Ross, political ideology following the elections of Margaret music critic at large to the New Yorker magazine in an Thatcher, Ronald Reagan and Brian Mulroney in 1979, 1981 article on the educational and economic reasons for a and 1984, respectively. My chapter, “Music Education decline in audience attendance at symphony orchestra and Social Justice: Toward a Radical Political History and concerts. Several years later, in 2008, an entire issue of Vision,” published in the British book Debates in Music the leading on-line journal Action, Criticism, and Theory Education (Routledge, 2012) explains why, although for music education was dedicated to critical reviews of western music educators have long expressed an the book. More recently, this “important book” has been interest in ameliorating various forms of social injustice, credited with inspiring a resurgence of interest among accomplishing education reform in the name of social ethnomusicologists and other music academics in linking justice will be no easy task given that the primary purpose university teaching with the pursuit of democratic ends of all education is now economic! Music teachers will have (Kruger, 2011, pp. 285-6). to become more politically informed and engaged beyond the very narrow confines of the teaching profession if Like all of my publications following the events of 9/11, they are to have a public voice in shaping education policy. Democracy and Music Education emphasizes and Currently, I am co-editing the Handbook of Social Justice illustrates many of the difficulties involved in pursuing in Music Education to be published this year by Oxford a democratic purpose for music education while also University Press and featuring authors from around the stressing the importance of music teachers introducing world. children and undergraduates to fundamental political 32 ^ MEET OUR FACULTY ^ MUSIC EDUCATION 33

Introduction

BETTY ANNE YOUNKER

y work covers topics related to philosophy • Describing through case studies and models and psychology in the field of music alternatives to traditional music education education. In the philosophical field I programs M deal specifically with critical thinking • Examining inclusion and exclusion of the LGBT and the value of music in education and culture; population in music education my research in the field of psychology focuses on issues of music perception and cognition, creative • Examining music education through the lens of thinking, and constructivism. I contribute regularly social justice to scholarship via publications, book chapters and • Detailing the role of collaboration in composition articles, and paper presentations at a variety of and research scholarly conferences. Currently I have more than • Providing results from interdisciplinary research 150 publications and presentations. My research has projects included:

In terms of service to the profession, I served • Identifying and mapping creative thinking in as president of the Michigan Music Educators composition Association, and am currently president-elect of • Examining and detailing processes involved in the College Music Society and president-elect of critical thinking the London Arts Council. I serve and have served on a number of advisory, editorial and professional • Describing the role of critical and reflective thinking boards, and have provided workshops and served in music making as a consultant for universities and professional • Identifying and mapping problem framing and conferences. Amongst awards, I was named solving in composition Distinguished Alumnus of the Year by Pennsylvania • Detailing historical analysis of philosophy in music State University College of Arts and Architecture education (2008) and was awarded The Dr. Pedro Goldman Award Faculty of Music Students’ Council, The • Describing democratic spaces for educative University of Western Ontario (2000). experiences • Offering systemic changes to current curriculum structures and content 34 ^ MEET OUR FACULTY ^ MUSIC EDUCATION 35

became the fish that is suddenly aware of the water within listening to recordings and copying them. Having engaged RUTH which it swims. and excited students about music in this way it then places the teacher in a facilitative role to help students This has led to a research agenda dedicated to examining devise their learning journeys through other styles and WRIGHT issues of equality, inclusion and social justice within genres of music and into composing, improvising, history music education. I also write and research on theories of and theory. Results have indicated a growing confidence sociology and their implications for music education and and engagement with music learning from students am one of the leading scholars in the nascent field of the in music and other subjects. Levels of absenteeism in sociology of music education. My edited book Sociology schools have decreased and student confidence and self- and Music Education Ashgate 2010 was one the first esteem have risen. As part of our knowledge mobilisation books explicitly to deal with these issues and has been plan we have presented on our Musical Futures research adopted as a course book in undergraduate and graduate at national and international conferences and run classes in universities around the world from Texas to Tel professional development workshops for teachers Aviv. I have also produced a book and teacher resource from increasingly further afield. We estimate around pack on Welsh traditional instrumental music for the 30 schools in Canada are now implementing informal Welsh Curriculum Authority. learning pedagogy in music. Before Christmas 2013, we began a project experimenting with informal learning in Supported by a SSHRC grant, in 2011 I organized the the large ensemble environment. We were delighted with Leading Music Education international conference that the outcomes and are looking forward to further research brought more than 100 researchers from around the in this area in 2014. world to Western to debate the issues facing music education in the 21st century. The conference also saw I publish regularly in academic and professional works. the final paper of renowned music sociologist Christopher I have 10 chapters in edited books including the latest We estimate around Small, presented by his dear friend and colleague Felicity edition of the Oxford Handbook of Music Education, eight 30 schools in Canada Laurence. Small died within days of the conference. articles in peer-reviewed journals published around are now implementing the world of which two consistently appear in the list of I combine my academic writing with a dedication to most frequently downloaded and cited articles in the informal learning finding accessible ways for children and young people British Journal of Music Education and 32 conference pedagogy in music. to engage with music in education. I also therefore presentations. In addition I have contributed articles to conduct empirical research in schools experimenting with the Canadian Music Educators Association journal, the innovative music pedagogies and observing their effects Ontario Music Educators journal and the journal of the in terms of engagement, motivation and achievement National Association for Music Education in the U.K. of young people both in music but also across the curriculum. This stems from an equal commitment to In the past three years, I have been an invited keynote attempting to improve the life chances of disadvantaged speaker at music education conferences in London, eing introduced to the field of sociology by My early life as a classical piano student at the Royal young people, to which I am convinced education England, Orebro Sweden, Hamar, Norway and Pirenopolis, my PhD supervisor Brian Davies at Cardiff Academy of Music in London, then as a studio piano holds the key. Since arriving in Canada in 2009, I have Brazil. I have extensive international research networks University changed the way I saw the world teacher and later a high school music teacher had left established the Musical Futures Canada project with and collaborate frequently with scholars from around the B and ultimately my academic and professional me with a sense that children do not enter the world fellow researchers Betty Anne Younker, Carol Beynon, world. In 2012 I was part of a successful grant application life. Brian was a student of the late Basil Bernstein, of music education on a level playing field. Class, and graduate research assistants Jennifer Hutchison to the Norwegian Research Council in a project examining Karl Mannheim Chair of Sociology of Education at ethnicity, gender and a multitude of other social and Leslie Linton. Western internal research funding has the Gentrification of Popular Music. This will involve a the Institute of Education, University of London, U.K. factors affect their ability to access and succeed in allowed us to conduct a pilot study in two Ontario schools visiting professorship at Hedmark University College, Bernstein’s powerful, albeit dense and sometimes music within the education system. Yet until I met introducing the principles of informal learning to music Hamar, Norway to collaborate with scholars from impenetrably written, theoretical framework provides sociology I had no adequate conceptual apparatus classes. Modelled on the natural music learning processes Hedmark, the Norwegian Academy of Music, Oslo and a powerful lens through which to view education and through which to dissect and understand the we humans adopt in non formal musical situations, this Cambridge University, U.K. particularly music education and the roles of power workings of the system within which these inequalities approach puts students at the centre of their learning, and control within these fields. existed. Zygmunt Bauman, described sociology as the working with friends to learn whole pieces of music they process of making the familiar strange. This is what chose from their familiar everyday listening practices by sociology brought to my studies of music education. I 36 ^ RESEARCH OUTPUT 2010- 2012 ^^ MUSICRESEARCH EDUCATION FUNDING 2010-2013 37

FACULTY RESEARCH OUTPUT EXTERNAL FUNDING

FACULTY Principal Requested OUTPUT TYPE TOTAL Title Funded Amt Sponsor Program # Number of Individual Contributiions Investigator Amt Book 10 Music Performance Foundations of Musical Grier, J $140,000.00 $140,000.00 CANADA COUNCIL FOR THE ARTS KILLAM RESEARCH FELLOWSHIP 2010 Book Chapter 33 27 19 2 Literacy 100% Journal article 28 Leading Music Education SOCIAL SCIENCE HUMANITIES RSRCH AID TO RESEARCH WORKSHOPS AND Wright,Ruth $9,230.00 $9,230.00 2010 International Conference COUNCIL CONFERENCES IN CANADA Monograph 1 90% 264 Anton Webern’s Poetic SOCIAL SCIENCE HUMANITIES RSRCH Nolan,Catherine $37,800.00 $0.00 INSIGHT PROGRAM 2011 Performance 297 Muse COUNCIL CD recording 18 80% 22 Tuning into the Future: SOCIAL SCIENCE HUMANITIES RSRCH Wright,Ruth Informal Learning and $73,475.50 $0.00 INSIGHT DEVELOPMENT GRANTS 2012 TV broadcast 4 COUNCIL 70% Music Education Program Notes 10 2 From Research to Public SOCIAL SCIENCE HUMANITIES RSRCH 11 Toft,Robert E $85,386.36 $85,386.00 INSIGHT PROGRAM 2012 Composition 34 60% Performance COUNCIL Composition recordings 26 Cold War Cultural SOCIAL SCIENCE HUMANITIES RSRCH Ansari, Emily $89,317.00 $0.00 INSIGHT PROGRAM 2012 2 2 Diplomacy COUNCIL Compositions performed 29 50% 316 Consortium of Ontario SOCIAL SCIENCE HUMANITIES RSRCH Radio broadcasts of compodsitions 23 Veblen,Kari K Universities for Research $167,500.00 $0.00 INSIGHT PROGRAM 2012 COUNCIL 40% in Music Education

Film broadcast 3 TOTAL OF PERCENTAGE Sociology of Music Reviews 4 SOCIAL SCIENCE HUMANITIES RSRCH 30% Wright,Ruth Education International $190,320.00 $0.00 PARTNERSHIP DEVELOPMENT GRANTS 2012 COUNCIL Radio broadcast performance 19 Network

2 20% TOTAL $793,028.86 $234,616.00 Dvd recording 2 5 Production, tracking, mixing and mastering 149 10% 2 2 2 TOTAL 690 1

0 0 0 0 OUTPUT PER FACULTY MEMBER 18 0% Principal Requested Book Total INTERNAL FUNDING Reviews Title Funded Amt Sponsor Program Monograph Book Chapter PerformanceCD RecordingTV Broadcast Composition Mastering Investigator Amt Journal Article Program Notes Film Broadcast DVD Recording

CompositionComposition Recordings Performed

Radio Broadcast Performance Through the Centuries- NEW RESEARCH & SCHOLARLY Radio Broadcast of Composition Production, tracking, mixing and Vogel, AB $4,981.00 $4,981.00 ACADEMIC DEVELOPMENT FUND 2010 violin-viola duos INITIATIVE - SMALL GRANTS PROGRAM Robert Kahn: In the NEW RESEARCH & SCHOLARLY Vogel, AB Presencec of Brahms- $8,500.00 $0.00 ACADEMIC DEVELOPMENT FUND 2010 INITIATIVE - SMALL GRANTS PROGRAM The Complete Works Graduate Diploma in NEW RESEARCH & SCHOLARLY # Veblen,Kari K Community Music $30,000.00 $0.00 ACADEMIC DEVELOPMENT FUND 2010 Number of Individual Contributiions # Number of Individual Contributiions INITIATIVE - MAJOR GRANTS PROGRAM Leadership Music Research and Composition Music Education

26 149 Robert Kahn: The Three 1 NEW RESEARCH & SCHOLARLY 100% 100% Vogel, AB Sonatas for Violin and $35,243.29 $0.00 ACADEMIC DEVELOPMENT FUND 2010 INITIATIVE - MAJOR GRANTS PROGRAM 27 Piano 31 21 90% 90% Schenker’s Papers on SSHRC INTERNAL RESEARCH Franck,Peter $941.00 $941.00 FUNDS TRANSFER ACCOUNTS 2010 Counterpoint COMPETITION 80% 80% Society of American 22 SSHRC CONFERENCE TRAVEL Ansari, Emily Music 36th Annual $1,084.87 $1,085.00 FUNDS TRANSFER ACCOUNTS 2010 20 COMPETITION Conference 70% 70% Royalty fees for Toft,Robert E $3,500.00 $3,500.00 FUNDS TRANSFER ACCOUNTS SSHRC GRF - RESIDUAL 2010 6 6 manuscript 60% 60% 18 Schenker’s Notes on SSHRC CONFERENCE TRAVEL 2 2 Franck,Peter Invertible Counterpoint $580.35 $580.00 FUNDS TRANSFER ACCOUNTS 2010 50% 50% COMPETITION 317 and Fugue

4 XI International Congress SSHRC CONFERENCE TRAVEL 40% 40% Cuciurean,John $2,150.00 $2,150.00 FUNDS TRANSFER ACCOUNTS 2010

PERCENTAGE OF TOTAL OF PERCENTAGE on Musical Signification COMPETITION PERCENTAGE OF TOTAL OF PERCENTAGE 1 10 Cultural Diplomacy book SSHRC INTERNAL RESEARCH 30% 30% 5 Ansari,Emily $6,426.41 $3,423.00 FUNDS TRANSFER ACCOUNTS 2010 7 research COMPETITION

2 Robert Kahn: In the 20% SSHRC INTERNAL RESEARCH 20% Vogel, AB Presence of Brahms-The $7,000.00 $0.00 FUNDS TRANSFER ACCOUNTS 2010 COMPETITION 2 Complete Sonatas 57 10% 10% 17 16 Representing Gender in SSHRC CONFERENCE TRAVEL 1 Bratuz,Damjana $1,057.56 $0.00 FUNDS TRANSFER ACCOUNTS 2010 the Performative Arts COMPETITION 0 0 0 0 0 0 0 0 0 0 0 0 0% 0%

Book Total Book Total Reviews Reviews Monograph Monograph Book Chapter PerformanceCD RecordingTV Broadcast Composition Mastering Book Chapter PerformanceCD RecordingTV Broadcast Composition Mastering Journal Article Program Notes Film Broadcast DVD Recording Journal Article Program Notes Film Broadcast DVD Recording

CompositionComposition Recordings Performed CompositionComposition Recordings Performed Radio Broadcast Performance Radio Broadcast Performance Radio Broadcast of Composition Production, tracking, mixing and Radio Broadcast of Composition Production, tracking, mixing and 38 ^ RESEARCH OUTPUT 2010- 2012 ^ RESEARCH FUNDING 2010-2013 39

INTERNAL FUNDING INTERNAL FUNDING

Principal Requested Principal Requested Title Funded Amt Sponsor Program Title Funded Amt Sponsor Program Investigator Amt Investigator Amt FACULTY START UP How Commercial Ansari, Emily $6,000.00 $6,000.00 UWO INTERNAL MUSIC FACULTY START UP FUNDS 2010 SSHRC CONFERENCE TRAVEL FUNDS Coates,Norma J is Too Commercial: $1,762.13 $1,762.13 FUNDS TRANSFER ACCOUNTS 2012 COMPETITION Hootenanny Latin American Rhythmic NEW RESEARCH & SCHOLARLY Wilkinson,Fiona Study - Patterns of $4,172.60 $0.00 ACADEMIC DEVELOPMENT FUND 2011 FACULTY START UP INITIATIVE - SMALL GRANTS PROGRAM Hodgson, Aaron $6,000.00 $6,000.00 UWO INTERNAL MUSIC FACULTY START UP FUNDS 2012 Improvisation FUNDS Mozart and the concept ASECS Annual National SSHRC CONFERENCE TRAVEL NEW RESEARCH & SCHOLARLY Goehring, Ed $1,925.58 $1,355.40 FUNDS TRANSFER ACCOUNTS 2012 Goehring, Ed of genius in music $3,977.25 $0.00 ACADEMIC DEVELOPMENT FUND 2011 Meeting 2012 COMPETITION INITIATIVE - SMALL GRANTS PROGRAM historiography East-West Cultural SSHRC CONFERENCE TRAVEL A forgotten Voice: Robert Ansari, Emily Exchanges and the Cold $2,410.82 $0.00 FUNDS TRANSFER ACCOUNTS 2012 NEW RESEARCH & SCHOLARLY COMPETITION Vogel, AB Kahn- Three Violin $39,322.05 $0.00 ACADEMIC DEVELOPMENT FUND 2011 War conference INITIATIVE - MAJOR GRANTS PROGRAM Sonatas Travel for Ligeti SSHRC CONFERENCE TRAVEL Cuciurean,John $1,605.00 $0.00 FUNDS TRANSFER ACCOUNTS 2012 Society for American SSHRC CONFERENCE TRAVEL Conference COMPETITION Ansari, Emily $876.12 $876.00 FUNDS TRANSFER ACCOUNTS 2011 Music 2011 COMPETITION SSHRC CONFERENCE TRAVEL Starling,Jana Iowa Day $1,100.00 $0.00 FUNDS TRANSFER ACCOUNTS 2012 Time and eternity in SSHRC CONFERENCE TRAVEL COMPETITION Goehring, Ed $1,874.68 $1,875.00 FUNDS TRANSFER ACCOUNTS 2011 Mozart’s “Don Giovanni” COMPETITION Expressive Choral SSHRC CONFERENCE TRAVEL Aventa Ensemble, Neufeld, Gerald Singing: from Treatise to $1,541.90 $0.00 FUNDS TRANSFER ACCOUNTS 2012 SSHRC CONFERENCE TRAVEL COMPETITION Frehner,Paul , BC, $1,418.91 $1,410.00 FUNDS TRANSFER ACCOUNTS 2011 Performance COMPETITION Feb. 6, 2011 Through The Centuries: SSHRC CONFERENCE TRAVEL Console-ing Passions: SSHRC CONFERENCE TRAVEL Vogel, AB A Sampling of the $2,738.00 $0.00 FUNDS TRANSFER ACCOUNTS 2012 Coates,Norma J $3,529.31 $2,500.00 FUNDS TRANSFER ACCOUNTS 2011 COMPETITION International Conference COMPETITION Unexplored Duo WASBE Conference, Perspectives on Musical SSHRC CONFERENCE TRAVEL SSHRC CONFERENCE TRAVEL Wright,Ruth $2,341.00 $0.00 FUNDS TRANSFER ACCOUNTS 2012 Richardson,Colleen Chiayi City, Taiwan July $3,827.24 $3,827.00 FUNDS TRANSFER ACCOUNTS 2011 Improvisation COMPETITION COMPETITION 3-10, 2011 International Music SSHRC CONFERENCE TRAVEL Feminist Criticism and Veblen,Kari K Education Conference: $5,214.64 $0.00 FUNDS TRANSFER ACCOUNTS 2012 SSHRC CONFERENCE TRAVEL COMPETITION Nolan,Catherine the Role of Hildegard $1,404.42 $1,404.00 FUNDS TRANSFER ACCOUNTS 2011 Community Music COMPETITION Jone Visiting University VISITING UNIVERSITY SCHOLAR Roland, Sophie $1,165.66 $1,165.16 WESTERN INTERNATIONAL 2012 Escaping vs. Confronting Scholar Program PROGRAM SSHRC CONFERENCE TRAVEL Woodford,Paul G Reality: Politics and $2,310.38 $0.00 FUNDS TRANSFER ACCOUNTS 2011 COMPETITION Visiting University VISITING UNIVERSITY SCHOLAR Music Education Roland, Sophie $1,004.46 $1,004.46 WESTERN INTERNATIONAL 2012 Scholar Award Program PROGRAM Ethics In Cyberspace: SSHRC CONFERENCE TRAVEL Veblen,Kari K Looking In On Music $3,512.40 $0.00 FUNDS TRANSFER ACCOUNTS 2011 FACULTY RESEARCH DEVELOPMENT FACULTY RESEARCH DEVELOPMENT COMPETITION Coates, Norma, J. Rocking the Wasteland $3,000 $2,000 2013 Teaching FUND FUND SMALL GRANTS COMPETITION Lateral Dynamics European summer FACULTY RESEARCH DEVELOPMENT SSHRC CONFERENCE TRAVEL FACULTY RESEARCH DEVELOPMENT Hodgson,Jay Processing in $2,557.98 $0.00 FUNDS TRANSFER ACCOUNTS 2011 Ansari, Emily school on cold war $1,810 $1,810 FUND CONFERENCE TRAVEL 2013 COMPETITION FUND Experimental Hip Hop politics COMPETITION FACULTY RESEARCH DEVELOPMENT A troubling genius: early FACULTY RESEARCH DEVELOPMENT Goehring, Ed $3,664.49 $0.00 RW INTERNAL RESEARCH PROGRAMS INTERNATIONAL RESEARCH AWARD 2011 Goehring, Edmund, J. Mozart $1,130 $1,130 FUND CONFERENCE TRAVEL 2013 Mozart reception FUND COMPETITION Wright,Ruth Faculty Scholar Award $14,000.00 $14,000.00 UWO INTERNAL MUSIC FACULTY SCHOLAR AWARD 2011 Younker, Betty Anne Musical Futures $48,000 $48,000 PROVOST ACADEMIC SUPPORT FUND PROVOST RESEARCH SUPPORT 2013 FACULTY START UP Watson, Kevin, E. $6,000.00 $6,000.00 UWO INTERNAL MUSIC FACULTY START UP FUNDS 2011 FACULTY RESEARCH DEVELOPMENT FUNDS De Souza, Jonathan, American Musicological FACULTY RESEARCH DEVELOPMENT $696 $696 FUND CONFERENCE TRAVEL 2013 Gregory Society Conference FUND FACULTY START UP COMPETITION Starling,Jana $6,000.00 $6,000.00 UWO INTERNAL MUSIC FACULTY START UP FUNDS 2011 FUNDS Research in Music SOCIAL SCIENCE HUMANITIES RSRCH SSHRC CONFERENCE TRAVEL Leonard Bernstein and Wright, Ruth Education International $2,000.00 $1,791.00 2013 NEW RESEARCH & SCHOLARLY COUNCIL COMPETITION Ansari, Emily the Cold War Politics of $7,781.36 $7,507.00 ACADEMIC DEVELOPMENT FUND 2012 Conference INITIATIVE - SMALL GRANTS PROGRAM Tonal Music De Souza, Jonathan, FACULTY START UP $6,000 $6,000 UWO INTERNAL MUSIC FACULTY START UP FUNDS 2013 Ligetis Piano Etudes: Gregory FUNDS NEW RESEARCH & SCHOLARLY Cuciurean,John Musical Structure as $4,295.00 $4,123.00 ACADEMIC DEVELOPMENT FUND 2012 INITIATIVE - SMALL GRANTS PROGRAM Oxford Dance SSHRC CONFERENCE TRAVEL Revealed Semmens,Richard $1,423.00 $1,423.00 FUNDS TRANSFER ACCOUNTS 2013 Symposium COMPETITION Mozart and the NEW RESEARCH & SCHOLARLY Goehring, Ed $4,289.89 $0.00 ACADEMIC DEVELOPMENT FUND 2012 Fifth International SSHRC CONFERENCE TRAVEL Allegorical Stage INITIATIVE - SMALL GRANTS PROGRAM Franck,Peter 1,030.24 $1,030.24 FUNDS TRANSFER ACCOUNTS 2013 Schenker Symposium COMPETITION Women Composers of NEW RESEARCH & SCHOLARLY Vogel, AB $12,495.00 $0.00 ACADEMIC DEVELOPMENT FUND 2012 the 19th Century (CD) INITIATIVE - SMALL GRANTS PROGRAM TOTAL $331,583.08 $150,260.31 International Clarinet SSHRC CONFERENCE TRAVEL Starling,Jana $1,342.00 $1,342.00 FUNDS TRANSFER ACCOUNTS 2012 Conference 2012 COMPETITION American Musicological SSHRC CONFERENCE TRAVEL Ansari, Emily $1,569.49 $1,569.00 FUNDS TRANSFER ACCOUNTS 2012 Society Conference COMPETITION