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Fifty-Eighth National Conference November 5–7, 2015 JW Marriott Indianapolis Indianapolis, Indiana

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Fifty-Eighth National Conference November 5–7, 2015 JW Marriott Indianapolis Indianapolis, Indiana Fifty-Eighth National Conference November 5–7, 2015 JW Marriott Indianapolis Indianapolis, Indiana ABSTRACTS & PROGRAM NOTES updated October 30, 2015 Abeles, Harold see Ondracek-Peterson, Emily (The End of the Conservatory) Abeles, Harold see Jones, Robert (Sustainability and Academic Citizenship: Collegiality, Collaboration, and Community Engagement) Adams, Greg see Graf, Sharon (Curriculum Reform for Undergraduate Music Major: On the Implementation of CMS Task Force Recommendations) Arnone, Francesca M. see Hudson, Terry Lynn (A Persistent Calling: The Musical Contributions of Mélanie Bonis and Amy Beach) Bailey, John R. see Demsey, Karen (The Search for Musical Identity: Actively Developing Individuality in Undergraduate Performance Students) Baldoria, Charisse The Fusion of Gong and Piano in the Music of Ramon Pagayon Santos Recipient of the National Artist Award, Ramón Pagayon Santos is an icon in Southeast Asian ethnomusicological scholarship and composition. His compositions are conceived within the frameworks of Philippine and Southeast Asian artistic traditions and feature western and non- western elements, including Philippine indigenous instruments, Javanese gamelan, and the occasional use of western instruments such as the piano. Receiving part of his education in the United States and Germany (M.M from Indiana University, Ph. D. from SUNY Buffalo, studies in atonality and serialism in Darmstadt), his compositional style developed towards the avant-garde and the use of extended techniques. Upon his return to the Philippines, however, he experienced a profound personal and artistic conflict as he recognized the disparity between his contemporary western artistic values and those of postcolonial Southeast Asia. Seeking a spiritual reorientation, he immersed himself in the musics and cultures of Asia, doing fieldwork all over the Philippines, Thailand, and Indonesia, resulting in an enormous body of work. Gong-An, a set of three pieces for solo piano, was inspired by gong-chime traditions in the Philippines: Klntang represents the kulintangan, an ensemble of bossed gongs from the south, and its modality, sonority, and temporal equilibrium. Abot Tanaw III (Horizons) expresses a breadth of emotions through the fusion of the characteristics of the piano and the kulintang. Pal’ok has direct reference to the playing style of the northern gangsa (flat gong) with its various strokes and attacks, resulting in different timbres, colors, and durations within a limited pitch environment. Barker, Alain see Hickey, Maud (Local Case Studies of Change in Action) Bastepe-Gray, Serap see McAllister, Lesley (One Size Does Not Fit All: A Glimpse into the Diversity in Musicians’ Health and Wellness Offerings in Higher Education) Batzner, Jay Let’s Keep it That Way I am an avid reader of comic books and one of my all-time favorite series is Planetary by Warren Ellis and John Cassaday. One of the main characters in the series is The Drummer, a man who can control the flow of energy and information with drumsticks. By drumming on computers, televisions, or electrical panels The Drummer can move, shape, and bend the forces to his liking. This piece does a similar thing with chaotic and random synth textures becoming transformed and shaped as the percussion soloist plays. In addition to the synth textures, I’ve used recordings of my father and I doing some carpentry work in his garage on summer. The power tools (and our captured conversations) are another stream in this “control and shape things” metaphor. Batzner, Jay C. Sufi Songs 1. Rumi Those who don’t feel this Love pulling them like a river, those who don’t drink dawn like a cup of spring water or take in sunset like supper, those who don’t want to change, let them sleep. This Love is beyond the study of theology that old tricker and hypocrisy. If you want to improve your mind that way, sleep on. I’ve given up on my brain. I’ve torn the cloth to shreds and thrown it away. If you’re not completely naked, wrap your beautiful robe of words around you, and sleep. 2. Bawa Muhaiyaddeen I hold you in my heart. I rock and sing you to sleep. You are everywhere in everyone, the holy baby in all of us, that plays there. The beautiful one, born when we love, the glowing child. You are the meaning that blooms in the heart. Becker, Carla Voices often Unheard: Stories of Cross Disciplinary Curriculum, Pedagogy and Creative Expression that Re-Engages High School Students of African American Descent There is a general tendency to overlook students’ voice in revealing what is working, and not working for students in their educational experience. Some students of African American descent who have been historically, economically, and politically tracked into segregated living and educational spaces however, have expressed discontent in their education due to disengaging teachers, curriculum, and implemented policies that perpetuate un-equal educational experiences. This qualitative research explores how socio-political barriers that continue to perpetuate incarceration, homelessness, and continual relocations of African American families have affected students of African American decent to become “over aged and under credited” (interview). Yet the research focuses on what is working at a High School for Recording Arts, the pedagogy, curriculum, and access to creative freedom that re-engages students who were once thought to “Become just another hood boy” (interview). It explores curriculum and pedagogy that crosses disciplines with innovative production rather than recreating standardized material. It explores curriculum and pedagogy where race and/or lived experiences are encouraged to be expressed and documented, not silenced. According to students, this freedom of lyrical and artistic expression was found most impactful. It encouraged students voices to be documented in time, sometimes reflecting socio-political injustices they have experienced, sometimes simply expressing lived experiences. This creative expression and the cross discipline curriculum created a space where students re-engaged in their education. Educators can benefit in listening to these stories of youth who have developed a love for their education because their creative endeavors are encouraged, acknowledged, and produced. Benedict, Cathy L. Some Things Simply Shouldn’t Be Sustained: The [not so] Hidden Language of Power and Exclusion As teachers we do a lot of talking. Whatever our musical contexts we explain, describe, clarify, explicate, present, rationalize and defend ideas. For many of us, we learn our ‘teacher talk’ from the modeling of the teachers who guided us through our own educational paths. For some, this might have begun with our private studio teachers and as early as our beginning band classes in 5th grade and continued through to our music theory and history professors. As innocuous as this may be, we need to consider several interrelated issues. Firstly, this process may have been so commonsense and seamless that we may not stop to reflect on the ramifications of teaching any subject the way it was taught to us. Secondly, commonsense practices might also reflect deeply rooted assumptions that sustain relationships and pedagogical engagements that do not serve music making or even thriving human encounters. Thirdly, and perhaps most importantly, normative language can function as coded language that appears inclusive and yet serves to exclude. With the goal of using the lightning talk format to represent, confront, and shift ideological discourse, I will incorporate videos, images and texts that represent ways of teaching that are striking in both their seemingly banality and their obvious exclusions. Berenson, Gail see McAllister, Lesley (One Size Does Not Fit All: A Glimpse into the Diversity in Musicians’ Health and Wellness Offerings in Higher Education) Berger, Gene P. see Seidel, John (Songs of War and Loss, by Anthony Plog (b. 1947)) Bishop, Daniel J. see Cook Glen, Constance (Sustainability in Music Study) Boge, Claire L. Hooktheory in the Music Theory Curriculum Students entering music programs in the new millennium are faced with a conundrum. Their musical backgrounds differ from those of their teachers due to different listening habits, and they are receiving mixed messages about music theory because royalties and publication lag keep “their” music out of traditional textbooks. How can we reconcile this? Quite simply, by showing them that it is the process of theory, not its content, that underlies the understanding of music -- and that they themselves can participate through Hooktheory. Developed by three musicians and educators in 2011, Hooktheory is a partially crowdsourced resource that markets itself as a way to help budding songwriters create chords and tunes that “sound good together”. Its TheoryTab component combines pop chord symbology, roman numeral functions, color/synaesthesia attributes, and guitar tablature. From a database of hundreds of current pop songs, it shows how the underlying progressions look on a unified visual and shows the process of theoretical development using today’s popular idiom. This talk will focus on three aspects of Hooktheory: what it does, its use as a database for examples of complex harmonies in current pop songs, and its potential to engage musicians of the future. It will conclude by pointing out the similarities of Hooktheory with more traditional harmonic- and contrapuntal-theory, and propose how it can help us address criticisms of our curriculum by showing what all music theory aims for – to teach us to think more deeply about what it is that we do. Addendum as requested in the CFP: The lightning talk will follow the traditional format, using Powerpoint screenshot slides taken from the Hooktheory website to accompany the four-minute talk. Any audio examples will be cleared for copyright before the presentation and will not need a live internet connection. Bolte, Jason Child’s Play Child’s Play is the third piece in a series of electroacoustic works that explore sonic materials derived from my daughter’s (Lila’s) toys. For each work in the series, I set out to explore a different aspect of her play.
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