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. In Child’s Play, rhythm is the underlying focus of the work. Since I continued to work with the same set of materials for all three pieces, the resultant derivatives of the original recordings became more and more abstract with each successive composition. In Child’s Play, most of the material is so far removed from the original source recording, that it is nearly impossible to identify. The one exception to this rule is a child’s “Squeaky Toy,” which is presented in an unaltered state halfway through the composition. The “Squeaky Toy” informs the majority of the rhythmic structures found in the work. Although derived from the “Squeaky Toy,” the rhythmic and harmonic aspects of the work are also heavily influenced by more “popular” styles of electronic music. I have found that one of the absolute wonderful perks of teaching in a university environment is the opportunity to be exposed to styles of music, including more “popular” styles, that would have never entered my ears if it were not for my students and their eclectic musical interests.

Bowyer, Don see Everett, William( The Sun (Almost) Never Set: Reflections on the 2015 CMS International Conference in Scandinavia)

Burns, Debra see Hickey, Maud (Local Case Studies of Change in Action)

Burstein, L. Poundie see Younker, Betty Anne (President’s Forum: Continuing the Dialogue: Undergraduate Curriculum)

Burton, Suzanne An Interdisciplinary Quest for Improving Pedagogy As music faculty, we often engage in pedagogical discourse surrounding our teaching practices. We hear student murmurs of exciting lessons learned in other music courses. Curious, we wonder, What can I learn from my colleagues that will help me improve my own teaching practice? These conversations and questions provided the catalyst for five faculty members representing theory, musicology, and music education to create a pedagogy study group to explore teaching and learning from an interdisciplinary perspective. Building on our initial discussions, we developed a plan to look closely at one another’s teaching practices to improve our own, strengthen connections among our various courses, and provide our students with sustained quality instruction. Beginning in the Spring 2015 semester, the group will meet to study literature on pedagogical practices in higher education. Then, we will each visit one class of a colleague not in our discipline. To capture the essence of the class, we will video record each lesson, write observation notes, and maintain reflective journals. Midway through the semester, we will reconvene to present and discuss what we have learned both from each other and about our own practice. During the second half of the semester, we will repeat the same process but with a different colleague from another discipline. At our final meeting the group will identify innovative pedagogical approaches and practices that cross disciplinary boundaries. In this session, we will share the results of our project and provide suggestions for implementation in a variety of disciplinary settings.

Burton, Suzanne Multidisciplinary Perspectives on Community Engagement How is community engagement enacted within our academic communities? In what ways do our colleagues participate in making scholarship public? In this multidisciplinary session, four panelists from the disciplines of theory, ethnomusicology, music education, and citizenship and public service will discuss the community engagement projects in which they are involved. Core components such as collaboration, making scholarship public, integrating community engagement with teaching, and community engagement as service will be discussed.

Callahan, Michael R. see Burton, Suzanne (Multidisciplinary Perspectives on Community Engagement)

Camara, Kathleen see Burton, Suzanne (Multidisciplinary Perspectives on Community Engagement)

Campbell, Patricia Shehan see Soto, Amanda C. (Con Mucho Sazón: Latin American Conceptions of Music and Music Education)

Carlin, Richard see Graf, Sharon (Public Musicology: Preparing Students to Engage beyond Academia)

Carlisle, Katie Dimensions of Sustainability within a School-University Community Engagement Partnership This paper presentation addresses the 2015 national conference topic of Sustainability with focus upon a 13-year community engagement partnership between an urban public research university in the southeastern United States and a neighboring charter school. The relationship began when the charter school had a minimal music program and was seeking to embed music education programming within its curricular structure. The student population of the school is 97% African-American. The partnership between the charter school and urban public research university has grown significantly as a result of the mutually identified need for community engagement.

The following dimensions of sustainability of this school-university community engagement partnership will be addressed in the paper: the importance of stakeholders; modes of communication between stakeholders; developing diversity among stakeholders to build innovative and creative capacity; identifying changing needs through ongoing formal and informal music and arts program assessment; strategic grant identification, application, and implementation; and determining impact upon the school, the university, and the community. These dimensions will enable the development of context of the partnership and serve as entry points for final discussion with session attendees.

Carter, Alex J. see Seidel, John (Songs of War and Loss, by Anthony Plog (b. 1947))

Casey, Brian Change is where you make it: Constructs in Astrophysics and Metaphysics in the Jazz Revolution of the 1960s and 1970s The jazz revolution of the 1960s and 1970s has always been closely tied to the civil rights movement of the same era. Jazz composers’ collectives and literary movements within the African American community during this period have presented jazz as a source of black identity, pride and a method of political statement. Certainly there were prominent musicians of this generation who used their music to overtly press for social change, sometimes through the suggestion of radical and even militant means in keeping with the methods of the Black Panther Party. There is much literature from both black and white critics on this aspect of the relationship between jazz and racial inequality in America from the mid-1960s on. There is little literature, however, on the role of spirituality and afrofuturism in this regard and how prominent jazz musicians employed constructs from those worlds to show their audience a different way of conceptualizing a solution to the racial turmoil that was at the core of American society in the 1960s and 1970s. This research examines the works of three significant artists active in the free jazz movements of this era – Sun Ra, Anthony Braxton and John Coltrane - and explores how they used concepts from metaphysical and astrophysical disciplines to present to their audiences a new perspective on how they might better understand and navigate the social instability of their time.

Cessor, Tyler see Hamann, Keitha Lucas (Graduate Students Do Engagement)

Chan, Susan Echoes of China: New Commissioned Piano Works by Zhou Long and Chen Yi This lecture-recital features two new commissioned piano solo works by prominent living Chinese-American composers Zhou Long and Chen Yi.

While these two composers were born in Beijing and Guangzhou, they are known for combining Chinese musical traditions and contemporary Western concepts in their music. These internationally recognized composers are serving as Distinguished Professors of Music at the University of Missouri-Kansas City. Zhou was winner of the 2011 Pulitzer Prize in Music, and Chen received the Charles Ives Living Award from the American Academy of Arts and Letters. Zhou’s Pianobells from 2012 was inspired by a Chinese legend of frost bells, Chinese literature and melodies, church chimes in Italy, as well as Debussy’s music. It contains fascinating and uniquely colorful effects on the piano that express the interplay between Heaven and Earth. Chen’s Northern Scenes from 2013 contains passionate and lyrical layers of sound arranged in “vertical soundscapes and space” that express the composer’s inspiration from abstract paintings of the vast and magnificent mountains in northern China. This piece will be presented as a multimedia performance with Powerpoint slides of artwork that formed the source of inspiration for the composer. The pieces are about 9 minutes and 7 minutes in duration respectively. The commissioning project was made possible by the support of individual donors in addition to grants from the Regional Arts and Culture Council and Oregon Arts Commission. The works have been premiered and recorded by the author. The CD will be released by an international label in 2015.

Chattah, Juan Beyond Reading and Writing Music: Multiple Literacies in the University Music Program The music education board would like to propose the following as a panel comprised of both music education board members and those from other boards:

The purpose of this panel is to draw the attention of music teacher educators and music professor at the college level as to the assumptions made and those ways functional literacy pervades our disciplines.

We are interested in pursuing and untangling the notion of “literacy” and what that means to and for different constituencies. While there are multiple literacies the preoccupation and even reliance on the primacy of functional literacy (reading and notating western classic music) as seen as an end-point in the formal process of schooling masks an ideology that rarely goes unexamined throughout all disciplines. We acknowledge the role of musical notation, but we hope to push and challenge the limitations of thinking of notation as one set literacy and consider the detrimental aspects when functional literacy is favored over musical experiences that are generated from differing engagements with music.

Chattah, Juan Integrating New Analytical Paradigms within the Undergraduate Music Theory Curriculum Music Theory as a research discipline is expanding in every conceivable direction. There is a growing involvement with the non-Western canon, diversity in all its facets is much valued, there is a fluid conversation with other disciplines accompanied with an awareness of methodological advances in other disciplines, and discourse within Music Theory reflects an epistemological shift towards inclusion of context and interpretation. Unfortunately, seldom these innovative research paradigms transpire into the Theory sequence.

The proposed session will feature three theorists and one ethnomusicologist, each representing various innovative analytical paradigms and/or repertoire. The main thrust of the discussion will explore practical ways to introduce new methodologies and underrepresented repertoire in the undergraduate core curriculum.

Chesky, Kris Sustaining Hearing Health: Understanding and Managing Sound levels during Ensemble- based Instructional Activities Through a multidisciplinary lens, the purpose of this paper is to provide CMS attendees research- based insights related to hearing health and hearing loss prevention. Following an overview of opportunities and challenges associated with applying national hearing conservation standards to ensemble-based instructional activities, including those promulgated by the National Institutes of Occupational Safety and Health, this paper will use data generated from automatically and routinely measuring sound energy levels during individual ensemble-based instructional activities offered in a large school of music. These research-based insights will be used to illustrate that sound energy levels generated during ensemble-based instructional activities 1) have the potential to warrant concern for hearing loss, 2) are highly variable from moment to moment, 3) produce highly varied levels of “risk” from class to class, and 4) are directly linked to at least seven discrete and interactive variables that can be quantified and statistically attributed to the pedagogy of the instructor. Based on these perspectives, pedagogy-based management techniques that can be considered and applied by an instructor of an ensemble- based instructional activity will be described. This information will also facilitate general educational efforts that are designed to meet the new NASM safety and health standard.

Choi, Kyong Mee To Unformed This piece is inspired by Thich Nhat Hanh’s book, “No Death, No Fear.” He describes life and death by saying, “When conditions are sufficient we manifest and when conditions are not sufficient we go into hiding.” To Unformed attempts to depict Thich Nhat Hanh’s idea musically by using the same musical material to express Hahn’s idea of “manifestation” and “hiding”.

Clark Silva, Marilyn K. see Hamann, Keitha Lucas (Graduate Students Do Engagement)

Clifton, Keith E. “Music Major Status Not Required”: Challenges and Rewards in the Open Graduate Seminar As colleges and universities seek to expand their student base, many offer degrees designed for generalists, including the Bachelor of Individualized Studies. This trend is not limited to undergraduates, however, as programs at the master’s and doctoral level (for example, the M.A. and Ph.D. in Humanities) are becoming increasingly commonplace. Allowing non-majors to attend graduate-level music courses presents unique challenges, including making a highly technical vocabulary accessible to students with little or no musical background while serving majors who may have varied responses to non-major peers sharing the same course.

Drawing on my experiences in two recent seminars in popular music, this Lightning Talk, presented as a short paper, will summarize the pitfalls and opportunities available in an open enrollment graduate course, including the selection of readings, evaluation of student work, and recommendations for appropriate assignments. Power Point slides will briefly outline the rapid growth of generalist degrees at the undergraduate and especially the graduate levels. Rather than viewing non-majors as a hindrance, their presence opens up exciting avenues for interdisciplinary connections and peer learning. Finally, the inclusion of non-musicians in our classrooms may help to assure the sustainability of music in higher education.

Cloud, Judith see Palkki, Joshua (Problematizing Gender in Collegiate Music Programs)

Cockey, Linda E. see McAllister, Lesley (One Size Does Not Fit All: A Glimpse into the Diversity in Musicians’ Health and Wellness Offerings in Higher Education)

Cordoba, Derick Liturgical Jazz and the music of Edgar E. Summerlin While jazz is often talked about as a spiritual music, rooted in the blues and gospel experience of African Americans it is rarely associated with the sacred. One of the earliest pioneers in the intersection between jazz and liturgical music was Edgar E. Summerlin. Ed Summerlin was a jazz saxophonist, composer, arranger and educator. As a leader he recorded and performed primarily avante-garde jazz and liturgical Jazz. His recordings feature notable sidemen such as bassist Ron Carter, pianist Steve Kuhn and drummer Adam Nussbaum. As an arranger he worked with Steve Kuhn, Toshiko Akiyoshi and Freddie Hubbard. Summerlin had a long career as an educator directing City College of New York’s jazz program from 1971 to 1989. His entry into the world of Liturgical jazz began when he, grief stricken at the loss of his young daughter, and at the urging of Bill Slack, Jr., a pastor composed Requiem for Mary Jo. It would be one of the first Liturgical uses of jazz. He went on to compose Episcopal Evensong, Jazz Vespers Service and Liturgy of the Holy Spirit. Summerlin is largely unknown outside of his east coast contemporaries and those he reached throughout his teaching career. This project will rest on a three-pronged methodology, including archival research, oral history and musical analysis and will create, through original research, a historical narrative of Ed Summerlin’s life in jazz and liturgical music.

Crawford, Elizabeth A. Stardust, a New Twist on a Classic, by Jenni Brandon (b. 1977) Stardust for solo e-flat clarinet was commissioned by Elizabeth Crawford, Associate Professor of Music at Ball State University, and will be premiered at the Clarimania festival in Wroclaw, Poland, in April 2015. This is the second work for e-flat clarinet that has been commissioned by Dr. Crawford in an effort to add to the body of literature for this underutilized instrument. It is Ms. Brandon’s first composition for e-flat clarinet and will explore the lyrical and jazzy capabilities of the instrument while drawing inspiration from Harold Arlen and Indiana native, Hoagy Carmichael.

There are numerous other significant events occurring in 2015 for Jenni Brandon. In addition to the premiere of Stardust, the world premiere of her piano concerto with choir and chamber orchestra, We Are Joy, will take place in fall 2015. This substantial work is 25 minutes long with an original text by award-winning playwright Oliver Mayer.

Other significant events for Ms. Brandon include the world premiere of her work for bassoon and piano commissioned by bassoonist Dr. Christin Schillinger; a recording/production project with Ceora Winds; and the composition of the music for a two-woman show about the Bhagavad Gita.

Her award winning solo bassoon work Colored Stones will be published by Imagine Music in January 2015 and used as one of the competition pieces for the Meg Quigley Vivaldi Competition and Bassoon Symposium in 2016. It will be recorded by Susan Nelson and released on the MSR Classics label in 2015.

Cremata, Radio see Soto, Amanda C. (Con Mucho Sazón: Latin American Conceptions of Music and Music Education)

Cremata, Radio Why Inbreed When We Don’t Have To? New Sustainable Enrollment Strategies: Reflections on the Manifesto by CMS’s Task Force on the Undergraduate Music Major Imagine a college level music program that admits students regardless of their musical background. What if instead of promoting cultures of stagnation and intimidation we adopted Higgins (2012) notion of “unconditional hospitality?” For decades music education scholars have urged music educators to deliver socially relevant musical experiences. Nonetheless, in the CMS TFUMM’s own words, “the academy has remained isolated, resistant to change, and too frequently regressive rather than progressive in its approach to undergraduate education.” While the manifesto published in 2014 by the TFUMM supports the important notion of modifying curricula to reflect 21st century practices, it does not address the critical issue of to whom we teach it.

For significant, sustainable and lasting change to occur, enrollment standards must first be addressed. We know from ecology that sustainable biological systems remain diverse and productive. Rather than continuing to inbreed and provide exclusive admission to the academy based upon perpetuating cultural contexts recognized by current curricula authentic only unto itself, the presenters will propose a new perspective to diversify college music enrollment to include a wider and more culturally authentic representation of musicianship. By providing opportunities for more diverse kinds of musicians to enter the academy, new curricular possibilities will, out of necessity, naturally emerge. This has significant positive implications for the future of music and the cyclical nature of music education at all levels including P-Lifespan. The presenters will outline strategies for diverse enrollment and discuss the possible impacts it will have on college level music programs.

Cremata, Radio Yes Dad! I Want to Major in Music: Preparing Graduates for Sustainable Musical Futures What is the value of a degree in music? The economy demands that college level music programs adjust to prepare graduates for new and emergent challenges. The notion of employability is ever changing in the shifting musical landscape (Bennett, 2008). Yet liberal arts schools and conservatories continue to primarily focus on the classics. The numbers do not merit this. For example, each year music schools graduate approximately 15,000 students, yet there are approximately 250 full-time openings/year in just 18 American orchestras with a 52-week schedule (Cutler, 2009). Meanwhile, many other opportunities exist for musicians in the workforce. Possible musical entrepreneurships might involve harnessing the potential technologies afford such as digital deterritorialized collaboration, video and multimedia production, self-recording and distribution, and composing for apps, games and live interactive network mediated interfaces. Music graduates should be prepared to be co-creators in their musical entrepreneurships with diverse and innovative musical and business skills. College level music programs must maintain eclectic and relevant provisions for all students because a narrow focus will not demonstrably produce graduates with a range of skills and abilities that equip them well for their inevitable futures. (Lebler et al. (2009)

This lightning talk challenges traditional conceptions of college level music degrees, calling into question their worth, marketability and capacity they provide to promote robust opportunities for graduates in an evolving 21st century musical economy. It will then outline several strategies to broaden tertiary music offerings with the purpose being to provide music graduates greater likelihood of financial success.

Currie, Scott see Burton, Suzanne (Multidisciplinary Perspectives on Community Engagement)

Dawson, Lisa see Soprani Compagni (Portraits of Women in Contemporary Soprano Duet)

Dempster, Thomas J. ahalugisdi unole (to quiet the wind) Inspired by a painting by America Meredith, ahalugisdi unole - as a work of visual art - chronicles a small slice of imagined activity and movement within a patch of forest that may not last much longer. Taking inspiration from her Cherokee ancestry and the numerous folk tales that proliferate Cherokee heritage, Meredith’s painting displays a singing bear - at once quirky and majestic - nearly blending in with an affected woodgrain background. On the right hand side of the painting is a clenched fist with a bent wrist, suggesting a violence directed at the sounds and sights of nature, in a manner befitting a Terry Gilliam illustration, though the bent wrist suggests the human interloper will not make it out of the kerfuffle unscathed. Mankind wants to quash the voices of nature and silence it, if for nothing else, to end the inconvenience. Why else harm a singing bear?

The bassoon plays numerous roles in the work, accompanied by and in dialogue with a rich array of digital sounds, all extracted from the bassoon. The live performer shifts from embodying the mystery and quiet grandeur of nature, to the mechanizations and rhythms of human interference, to the open, marvelous choirs of nature at greenest flush. The electronic sounds span from representing birds, frogs, humans, and the wind.

Demsey, Karen B. The Search for Musical Identity: Actively Developing Individuality in Undergraduate Performance Students This panel session with music educators from three institutions - two universities in the US and a conservatoire in the UK - will present unique approaches to performance pedagogy and curricula designed to develop individuality, creativity, originality, critical thinking, and cross-disciplinary connections in undergraduate performance students. The moderator will present an overview of the research project that led to observations at these and other institutions. Many classical performance students finish their undergraduate studies without a clear sense of their own identity or “voice” as a performer. Highly-skilled imitation is often rewarded in performance evaluations. Upon graduation, performance students become acutely aware of the need to create a unique musical identity as a performer, but often lack the resources and experience to do so.

One panel member will describe a student-based curriculum in which performance students are encouraged to take initiative in designing their own course of study. This informs nearly every aspect of the curriculum, including repertoire, ensembles, electives, and major projects. The environment of this UK conservatoire encourages freethinking and imagination while honing core skills.

Another panel member will describe a unique buddy system in the applied music studio. Each student experiences not one, but two lessons per week: one in the traditional context, one as an observer. Each student is exposed to twice the teaching time, repertoire, and critique. As a result, students have a larger perspective on the learning process and become more effective evaluators of themselves and others as musicians.

Dickinson, Stefanie C. Developing and Implementing a Repertoire-Specific Approach to Ear Training Many music professors fear we do not have enough time to adequately equip our majors to enter the professional world. We face not only curricular demands of credit hour restrictions and general education requirements, but also remediation demands brought on by entering students’ low levels of music literacy and scant knowledge of the literature. These concerns led me to ask how I could more effectively prepare my ear training students for real world experience and ready them for upper level music courses. In response, I developed a repertoire-specific approach to ear training. “Repertoire-specific” entails not merely using contextual sources for ear training, but focusing on a particular body of work, in my case, Beethoven’s nine symphonies.

My objectives were to immerse students in masterworks with which they were unfamiliar, engage them in score reading, and improve their ability to translate sound into symbol and vice versa. In this poster, I will share the benefits of using a specialized approach, my experience in developing and implementing it, sample assignments, and both anticipated and unanticipated benefits enjoyed by my students.

While a repertoire-specific approach might seem restrictive in content, it actually affords a more multi-faceted approach, engaging students in skills not traditionally taught in ear training class. As most assignments required reading or dictating orchestral scores, my students became adept at reading transposed instruments and c-clefs, following melodic lines through orchestra textures, and understanding idiomatic characteristics of individual instruments. Inspiring literature captures students’ imaginations and they, in turn, become more intrinsically motivated.

Dickinson, Stefanie C. Film as a Vehicle for Demonstrating the Relevance of Ear Training to Careers in Music For the undergraduate music major, ear training courses are foundational. All subsequent coursework assumes a firm grounding in aural skills. In fact, a successful career in any area of music depends on mastery of at least the most basic components of ear training. Unfortunately, some students do not appreciate the far-reaching importance of developing these foundational skills and assume the myopic goal of attaining only the required minimum passing grade in each course. This presentation introduces an original documentary film designed to provide entering music majors with convincing visual reinforcement of the relevance of ear training to careers in music, inspiring them to invest time and focus in these courses.

The presentation begins with a brief discussion of the effectiveness of film, which has been documented since the 1940s. Support for this vivid rhetorical vehicle is offered in such diverse areas as foreign language acquisition, medical instruction, and charitable giving (see attached bibliography). The presentation then describes the preparatory research undertaken to make the film as relevant as possible: identifying a core audience, developing a survey to isolate their misconceptions about the relevance of ear training, customizing interview questions to address these misconceptions, selecting and securing interviewees, developing a narrative, making the film, and gathering student viewer response. The presentation concludes with a screening of the film. This 12-minute documentary features interviews with professional musicians from a wide variety of subdisciplines including public school teachers, university professors, church musicians, professional performers, and a regional orchestra conductor.

Dickinson, Stefanie C. see Spaniol, Douglas (‘New’ Works for Bassoon and Piano by Julius Weissenborn)

Dillard, David A. see Kato, Yuko (Three Songs from Paris by Ned Rorem (b. 1923))

Do, Bang Lang see Sherry, James (From the Heart and From the Heartland: Trumpet and Piano Music of Midwestern Women Composers)

Do, Bang Lang Thinking, Fast and Slow “If oyu are abel to raedhisthtenoyurmidn is ni a fsatthnikignmdoe.” When pianists sight-read, the same heuristic quick approximation applies. Cognitive scientists talk of one brain with two minds, the one that automatically reacts and intuitively jumps to conclusions, and the one that reflects, analyzes, and self-monitors. Musicians use both mind states, but more of one when performing and more of the other when practicing. How can one recognize what each state of mind can bring to better technique, better performance, better understanding of the music, and better practice?

Economic Nobel Prize Daniel Kahneman’s latest book, “Thinking, Fast and Slow,”is a compilation of cognitive experiments. Scientists have found that our gut reaction will trump our will power in a stressful situation, such as being on stage. They also analyzed how working memory (short-term memory) has limits (called cognitive overload) how one can be blind to stimuli (the gorilla effect), how pain followed by release fools us into feeling less pain (peak duration effect), how pushing away a thought actually reinforces that neuron pathway, and how long-term memory works best if one practices very short sessions on a few measures and changes section, or even piece (called interleaving). These research results in sports and psychology have practical applications in music practice.

Learning how our mind works helps one become more efficient at utilizing our brain to improve our teaching and our own learning.

Dobroski, Bernard J. The 1965 and 1973 Seminars on Comprehensive Musicianship: Their Relevance as a Foundation for Music in Higher Education In April, 1965, under the sponsorship of “The Contemporary Music Project” (CMP), a group of professors from across a wide range of disciplines within music in higher education met at Northwestern University in Evanston, Illinois, to discuss how to improve instruction in basic musicianship at the undergraduate level. The 1965 seminar was also designed to encourage communication among music disciplines, as well as between music and other artistic and educational specialties.

Before the national CMP initiatives ended in 1973, a second Northwestern seminar was held that examined the graduate education of the college music teacher. The CMP and their two Northwestern seminars made a significant contribution to beginning a dialogue within music in higher education that “provided a synthesis, and a focus for disparate activities in music in order to give them a cohesion and relevance in our society, and to its cultural and educational institutions and organizations.” (Music Education Journal, 1973)

Members of a proposed CMS panel for the 2015 CMS National Meeting will present a brief history of “CMP” and the “1965 and 1973 Comprehensive Musicianship Seminars” and will describe and discuss the recommendations for curricular change that were made by the participants 50 and 41 years ago. The panel will discuss specific concepts examined during the two seminars that can help inform the College Music Society’s mission to nurture interdisciplinary exchange between the various music disciplines within higher education.

A paradigm will be presented that suggests that our undergraduate programs should continue to examine and adopt curricular recommendations that embrace the concepts of “Comprehensive Musicianship.”

The three to five panelists proposed for this session represent musical specialties that include many of the primary disciplines of CMS. They are named in the addendum to this proposal.

Dousa, Dominic Desert Rain In the summer of 2012, I spent a number of evenings walking near my home, taking in the scenery of the surrounding desert landscapes. Some of those evenings featured skies painted with clouds of beautiful shapes and hues and with rain showers visible in the distance. The spirit of these scenes provided the inspiration for Desert Rain. Throughout the piece there is a feeling of lightness and a shimmering texture that reflect some of the colorful impressions and fleeting images of the desert monsoon.

Doyle, Alicia M. see Jones, Robert (Sustainability and Academic Citizenship: Collegiality, Collaboration, and Community Engagement)

Duker, Philip see Burton, Suzanne (An Interdisciplinary Quest for Improving Pedagogy)

Dunaway, Clayton Analysis of Psychophysiological Affective Responses to Musical Stimuli in Humans This paper will serve to synthesize research in the field of psychophysiological affective responses to musical stimuli. A psychophysiological affective response is an unintentional, measurable change in the body’s normal baseline measurements to an external stimulus affecting the emotions – similar to the change felt during a fight-or-flight response. These responses may occur in a number of different ways, and are commonly described as a chill sensation (also called a shiver), piloerection (whereby the hairs on the arm stand upright), an increase in skin conductance (characterized by a chemical release in the body increases the skin’s ability to conduct electricity), or a change in heart rate. These sensations are often described as being both pleasurable and thrilling for the listener. Research suggests that emotional triggers or personal preference in musical performance may lead to increased levels of psychophysiological affective responses and correlate with the test subject’s self-reported subjective rating of emotional intensity. By synthesizing research in this area, I aim to increase awareness and understanding of this phenomenon, as well as draw parallels between various studies which may reveal commonalities. Additionally, more research in this area could, perhaps, help us to better understand the body’s responses to musical stimuli, helping composers and performers to make their music more thrilling to audiences. Implications for future research may also be explored.

Dunaway, Clayton Coconut Candy for Solo Clarinet, by Eric Mandat (b. 1957) Eric Mandat (b. 1957) is an active clarinetist, composer, author, and educator. Distinguished Professor at the University of Southern Illinois – Carbondale, Mandat is highly regarded for his work in expanding the unaccompanied clarinet repertory through his extensive writing and interest in extended techniques for the clarinet. His works for solo clarinet seek to fuse traditional styles and forms with the use of extended techniques. Extended techniques explored in many of his compositions include: multiphonics, timbral trills, quarter tone fingerings, circular breathing, flutter tonguing, key clicks, humming while playing, muting, double clarinet, clar-flute (removing the mouthpiece and blowing across the open tube of the clarinet), and clarinet with PVC-pipe extensions. Coconut Candy (2000) is no exception. Mandat writes: “[Coconut Candy] is supposed to sound light and fluffy, when in fact there are some sixty-five non-conventional fingerings. The piece is a rather simple rondo, utilizing pitch collections symmetrical around the interval of a perfect third; that is, halfway between a major third and a minor third.” Coconut Candy is centered around the note ‘A’ natural and features extensive use of both quarter tones and multiphonics.

Dunaway, Clayton Comprehensive Musicianship in Performance: Increasing Efficiency in the Applied Studio The purpose of this poster presentation is to present ideas for incorporating a comprehensive musicianship approach into the undergraduate applied music studio. The aim of this presentation is to provide applied music instructors with ideas and methods to utilize within their studios to reinforce concepts being taught in the academic music classroom. Topics of discussion will include the development and use of a warm-up or technique packet to increase the student’s facility as well as reinforce music theory fundamentals related to scales, arpeggios, chord sequences, and harmony. Instructional techniques such as solfege, sight-singing and other ear training techniques will also be presented. Lastly, building a sequenced curriculum of solo and etude repertory to include pieces from varying musical periods can help ensure that students are familiar with the performance practice techniques of music from these different historical periods. By working closely with music theory and music history faculty members, interdisciplinary components can be synthesized into the applied studio to help students reinforce important skills and concepts to improve their overall musicianship.

DuPont, Carl Pioneering African American Teachers of Singing This lecture recital will demonstrate the significance of the first African American teachers of singing who integrated the faculties of prestigious, predominately white U.S. institutions of higher music education from 1960–1980. The current literature has largely ignored the struggle for civil rights that occurred within schools of music, yet it is safe to say that during this time of turbulence in America’s history, race influenced the careers of black musicians even in academia. As the first African American voice faculty members at their respective institutions, Sylvia Olden Lee at Cincinnati College-Conservatory of Music, Willis Patterson at the University of Michigan, and the Indianapolis area’s own Camilla Williams at Indiana University in Bloomington placed their lives and livelihoods as pioneers for an under-represented group. I will present my own research on this topic, which includes oral history (interviews I conducted with prominent African American teachers of singing, their colleagues, and students) as well as findings from special collections at academic libraries. This, combined with my experience as an African American professor and Indiana University graduate has given me unique access to this topic and its impact. The recital portion of this presentation will feature songs from The Anthology of Art Songs by Black American Composers, compiled by Patterson and dedicated to Lee, a resource that made songs available that had languished in obscurity before. Contextualizing this topic within a Critical Race Theory framework will inspire all music educators to become advocates for under-represented music and musicians.

Everett, William The Sun (Almost) Never Set: Reflections on the 2015 CMS International Conference in Scandinavia The 2015 CMS International Conference, which took place June 17–24 in Stockholm, Helsinki, and on the boat between the two Nordic capitals, was filled with remarkable cultural experiences and musical inspirations. This session will offer an overview of conference highlights, including the various music-related sites visited, the conference venues themselves, summaries of keynote addresses by Swedish and Finnish colleagues, and overviews of Nordic-related presentations by CMS members. It may include encore performances of some music heard at the conference.

The session will also highlight ways in which CMS is developing sustainable international connections and cooperations and will include previews of upcoming CMS international events.

Feinberg, Richard see Graf, Sharon (Public Musicology: Preparing Students to Engage beyond Academia)

Fitzpatrick, Kate R. see Snyder, Courtney (Raising a Family and a Career: Balancing Motherhood and the Tenure Track)

Flinn, John Wesley I Must Have Said This Before: A New Approach to Analysis of Musical Quotation Attempts to understand music that features quotation have generated many different analytical techniques, most of which concentrate on either structure or meaning. This project is an attempt to create an analytical technique that will examine both structure and meaning. Thus, it attempts to answer the following questions: How does quoting a piece of music change its meaning? How can an analyst compare the same or similar material in disparate contexts? What are the technical, musical and extra-musical markers of certain tropes or ideas? Finally, what methodologies or tools can be used or created to effectively carry out these analyses, and what could those tools reveal?

This project examines the third movement of Luciano Berio’s Sinfonia for 8 voices and orchestra, with special consideration toward the amount of Mahler present in Berio’s work at any given point. The graphs created will chart how Mahler’s music is adapted orchestrationally in the new landscape of Berio. This analysis can then serve as the basis for the possible investigation of tropes within the work.

Postmodernism is historically viewed through the lens of deconstruction, as explicated by Michel Foucault, Jacques Derrida and others; this approach promotes the idea of “incredulity toward metanarrative” and usually concentrates instead on technical aspects rather than meaning. This study instead concentrates on Frederic Ferré’s reconstructive model of postmodernism, which has its roots in ecology. In this model, disparate elements of a piece of music—including quotations from other musical works—are examined as if they were life forms and landscapes interacting with each other, especially timbrally. This approach allows the analyst to create graphs showing how the life forms from a quoted piece of music alter the timbre of and are altered timbrally by the landscape of the quoting piece.

Fonza, Francis R. see Palkki, Joshua (Problematizing Gender in Collegiate Music Programs)

Fournier, Guillaume A Comprehensive Classification System of Cognitive Strategies Used to Learn Sight-singing at College-level Learning sight singing in aural skills classes poses significant challenges for a high proportion of college-level music students. In recent decades, much research in education has highlighted the importance of using cognitive strategies for learning many school subjects, but only a few focused on sight singing. Five published studies have shown significant differences between the best and the weakest sight singers relative to their use of cognitive strategies. They also provide descriptions of cognitive strategies related to sight singing preparation, pitch production, and metacognition. However, categorizations used by different authors offer little agreement.

This research aims to review the current knowledge on cognitive strategies related to solfège learning with college-level music students and to develop a comprehensive categorization system. A constant comparative method was used to conduct a systematic thematic analysis of interviews, scientific publications, theses, ear training manuals, and professional books. Using NVivo10 software, we first conducted a thematic analysis with open coding throughout the corpus of materials. We then examined different categorizations of cognitive strategies published in various learning areas (information processing, second language learning, sport skills, etc.) in order to consolidate the common strategies and to differentiate the others. A preliminary analysis has revealed a limited number of distinct cognitive strategies that can be grouped into the following six categories: learning strategies, pitch decoding strategies, reading strategies, preparation strategies, problem solving strategies, and metacognitive strategies. Implications for both teachers and researchers for using this categorisation system will be discussed.

Francis, David Ward Harrison’s Clocks: Mechanistic Interplay and Systemic Decay In Harrison’s Clocks, a set of five solo piano pieces by English composer Harrison Birtwistle, sets of repeating gestures and complex "mechanisms" set up a dramatic interplay between competing ideas. As the title suggests, they are easily viewed as "chimes" and "cogs". Where regular chimes punctuate and order time, the asymmeticral cycles of cogs continually recontextualize local perceptions of time and pitch. Unlike more typical asymmetrical rhythmic cycles which create senses of organization, Birtwistle’s mechanisms decay temporal relations. In Harrison’s Clocks: II & IV, systemic decay leads to entire erosion of the pulse; sputtering to a full stop. In this way, Harrison’s Clock’s do not at all resemble the esteemed reliability that is the modern conception of the clock. Birtwistle’s clocks instead succumb to secondary systems imposed onto the supposedly inherent repetitive stability of the mechanisms. The clocks are then wound, and resound again with the opening chime announcing the beginning of a new cycle. With this, Harrison’s Clocks challenges the notion of pulse as a regular rhythmic event, using repetition as a frame of reference.

Gannaway, Kendra INFUSION of Creative Thinking/Divergent Skill Development Activities in the Private Studio Inspired by the recent CMS Manifesto, the moderator of this panel will review the theory behind creative thinking encouragement and divergent/creative teaching. One panel member will give an overview of what we know from the literature followed by the second panel member demonstrating his practical work as an experienced private teacher. After the demonstration, attendees will have an opportunity to participate in discussion.

We believe that in order to effect change in the most central of educational experiences, the private studio, we must find an alternative to the master/apprentice model that remains prevalent today. The model that we will present is an existing, tested model of studio teaching that genuinely infuses creative thinking activities for purposes of encouraging and propelling forward the divergent thinking skill acquisition of the student of all levels—pre-K through tertiary one- on-one instruction.

The hope is that a shift in philosophical approach—and a practical model as an example of what this new approach to studio teaching might look like—may drive us toward implementation of a new approach for both (a) a pre-college independent music teacher; and (b) the tertiary studio teacher that exemplifies contemporary view of an educated musician as stated in the CMS Manifesto of being an improviser-composer-performer.

The idea of sustainability as educated musicians depends upon a vastly different approach than has largely been experienced in the past five or six decades—as the CMS Manifesto so pointedly asserts.

Garbes, Heather MacLaughlin ‘I Paint Music’: The Piano Preludes and Visual Art of Mikalojus Konstantinas Čiurlionis (1875–1911) Mikalojus Konstantinas Čiurlionis (1875–1911) was a Lithuanian composer and painter who worked equally in both mediums. He composed over 250 musical pieces and created nearly 300 visual art works. Known for saying “I paint music”, Čiurlionis felt that he was a synesthete and perceived music and colors interchangeably, thus giving him the inspiration in both mediums simultaneously.

This paper will present an overview of the composer’s life and compositional style and a comparison of his visual art output in relation to his compositional output.

Garrison, Karen H. Women Composers Vying for Acceptance This lecture/recital highlights three under-represented women composers of 18th and 19th century music. The lives of Anna Amalia, Princess of Prussia (1723-1787), Sophia Dussek (1775-c.1830), and Ethyl Smyth (1858-1944) span nearly 200 years, the most recent extending well into the 20th century. During their lifetimes, these women sought recognition as composers, but they faced many difficulties. They had minimal success getting works published and often had to use a male pseudonym or a single initial as a first name in order to be acknowledged. This lecture/recital will focus on the musical lives of these composers and the social circumstances that influenced their musical successes and failures. In addition to an overview of the works of each composer, select movements from the following chamber pieces for a combination of flute, oboe, and piano will be performed: Sonata for Flute (Anna Amalie), Sonata Opus I (Dussek), and Two Interlinked French Folk Melodies (Smyth). These compositions are either no longer published or are published by smaller publishing companies such as Hildegard Publishing Company. Ethyl Smyth, the most recent composer, was a tireless advocate for promoting her compositions. In doing so, she helped change the existing attitudes in regards to music written by women composers and hence helped pave the way for the next generation of women.

Gerstin, Julian Improvising Rhythmically: New Teaching Approaches This poster session demonstrates a systematic approach to using rhythm in improvisation, including melodic improvisation. It introduces rhythmic concepts relevant to many musical genres that students and professionals encounter—from jazz and U.S. popular music to Latin, Brazilian, Balkan and other world styles. These rhythmic concepts are developed through progressive exercises suitable for high school, college and working musicians. The step-by-step approach demystifies rhythmic improvisation, giving students concrete ideas on which to base their creative flights. Each set of exercises includes rhythms without melody—to get students started—and with melody, relevant to all instrumentalists and singers. Exercises are based on several useful concepts: (1) variation through addition, subtraction, planes, and targeting; (2) understanding syncopation as a combination of rhythmic grounding and suspension; (3) working with guide patterns in world music, such as clave; and (4) learning to develop rhythmic motifs from a given melody, such as the head of a jazz tune. If some of these terms seem mysterious to you, stop by! They are easily explained and powerful tools.

Gheesling, Laurelie see Garrison, Karen (Women Composers Vying for Acceptance)

Glen, Constance Cook Sustainability in Music Study Sustainability is of paramount concern for musicians in both education and the marketplace. Our panel’s discussion reveals four paths that encourage relevant and sustainable music study. An area that naturally supports sustainability of music study is film music. Its prevalence in popular culture both embraces and transcends “the classical canon,” defending the place of “the canon” in our experience while inherently positioning it as part of a broader network that is sustainable simply because of the medium.

• Recognition of dorm-room music-makers and acknowledgment of their importance revolutionizes traditional approaches to music study. Today’s dorms are packed with aspiring beat-makers, DJs and songwriters. Students gig, attend conferences (e.g., ASCAP’s “I Create Music” Expo, and Guitar Center Musician’s Expo), and distribute their work online. This represents a major shift in how music is created—from a solitary act to a collaborative enterprise.

• Global connections impel the modern world, and music is an essential part of this process. Central to this discussion is an elaboration on the ways of sustaining connections, as well as an examination of the dynamics of preserving indigenous and folk traditions while fostering innovation. Other points include political issues centered on music and justice, endangered and lost music genres, the role of music in conflict resolution, and the impact of migration of musicians to the West.

• An exploration of the teaching of jazz as an active and ever-evolving genre portrays a unique opportunity to expand students’ knowledge, while deepening their cultural and musical skill sets.

Graf, Sharon Poulson Curriculum Reform for Undergraduate Music Major: On the Implementation of CMS Task Force Recommendations This interdisciplinary panel focuses on innovative strategies for curriculum reform that exemplify the recommendations of the CMS Taskforce on the Undergraduate Music Major. Topics include the diversification of teaching methodologies, individualized curriculum design and a broadening of topics taught in core survey courses. The first panelist will speak about an innovative approach to teaching a core music history course that challenges the traditional chronological survey format. Instead, the course follows a narrative about diverse musical styles and cultures and proceeds from music with the shallowest historical roots to music with the deepest roots. The next two panelists will discuss the proposed BA program at Kent State University as an example of an innovative degree program that emphasizes an active student role in individualized curriculum design. The final panelist will propose fundamental changes to music major requirements that promote a broad understanding of musicianship and allow for diverse pedagogical approaches.

Graf, Sharon Poulson Public Musicology: Preparing Students to Engage beyond Academia From folk festivals to orchestra concerts, music is inescapably a social and public phenomenon; and from music bloggers to popular performers, musicians are public figures. Yet, the voice of scholars and musicians has often not connected beyond the academy. This panel discussion will explore approaches to “public musicology” – that is, making musical knowledge open, accessible, and available beyond the academic and classroom spheres – from perspectives of scholars, performers, and teachers. Music is more present than ever – via digital delivery to personal music players; from greater diversity of musical styles and crossovers pushed by increasing global flows of culture, trade, and media; and through massive, open, online courses with lengthy menus of musical offerings. We consider the promise of these avenues while acknowledging some of the difficulties and accompanying challenges. We ask:

• How can we train our students to be active in more public spaces through engaging scholarship and performances? • What is our role making musical knowledge, understanding, and appreciation more accessible and open to new audiences and what are the best techniques for doing so? • What venues, formats, and spaces, including digital platforms, provide the most compelling “interfaces” for engagement? • How can we make our music studies resonate with the musical and cultural realities beyond academia?

We follow Forster’s injunction to “only connect” by bringing together these varied voices and encouraging dialogue among the audience to share related projects and commentary.

Grapes, K. Dawn Program Notes in the Music Curriculum: Strategies for Learning On the surface, writing program notes for a concert or recital may not seem as prestigious as performing for the public, presenting a paper at a national conference, or having an article published in a peer-reviewed journal. Yet, program notes often reach a much wider audience than other forms of academic writing. Studies have shown that audience members appreciate program notes that accompany live performances. Written commentary often enhances a listener’s aural experience and serves as an important personal connection between the listener, the performer, and the music. Therefore, it is somewhat surprising that writing well-crafted program notes is a skill not often considered within the traditional higher education music curriculum. Including assignments that involve this type of writing, in both the classroom and the studio, not only helps students prepare for future potential duties as performers, artistic directors, conductors, and educators, but can also increase a student’s understanding of the historical context of compositions, allowing the exploration and application of informed performance practice choices.

This paper explores the history of program notes and supplies a basic plan for teaching students how to approach this underappreciated art, in stages from research and organization to writing and revision. Suggestions for creative program note assignments for history and theory classes, applied lessons, and ensemble courses are provided, and special focus is given to new methods of program note delivery that move beyond the printed program to online formats.

Gray, Colleen G. Shining Jewels: Exploring the Songs of Lee Hoiby Lee Hoiby (1926–2011), American composer, had a long, illustrious career in composition, continuing to write timely music until his recent death in March, 2011. Although prominent singers have performed Hoiby’s songs and operas for almost fifty years, his work has not been widely recognized in academic circles. Hoiby’s reclusive nature and his music’s limited availability were a hindrance to his popularity; however, the chief impediment to widespread appreciation of his music was the fact that Hoiby reached his mature neo-romantic style in the 1950s, a period when the musical tide had turned toward the disciples of the atonal, formalistic music of Arnold Schoenberg and Anton Webern and toward the compositions of explorers of sound spectra like John Cage. As a lyrical, tonal composer, Hoiby met with a discouraging disdain for his music from many of the well-known composers and academics of the period. Yet, performers such as Leontyne Price and Arlene Auger programmed his songs with regularity, finding their beautifully melodic, arching phrases, careful attention to prosody, and expressive piano accompaniments to be a vocal treat. Hoiby’s oeuvre includes works for orchestra, solo instruments, piano, chorus and theater in addition to the operas and almost one hundred songs for which he is best known.

In this presentation, I propose to list Hoiby’s complete song oeuvre by time period in a power point projection. I will then discuss Hoiby’s phrasing, choice of texts, prosody, and other compositional characteristics in selected songs from each period by examining projected portions of the scores, and playing recordings of portions of selected songs. The songs examined will include “Winter Song”, “Jabberwocky”, “Wild Nights”, “The Shining Place”, and “Three Ages of Woman.”

Gray, Gerald Internalize the Score – Inform the Gesture: An Approach to Conducting Pedagogy When the student hears in the mind’s ear, sees in the mind’s eye, and feels the specific music at hand, their conducting gesture can become a natural extension of their internal impulse. We create and clarify this internal impulse through singing and/or playing every part, both instrumental and vocal, exactly as it is to be performed. We dance to parts, analyze structure in scores and pronounce texts with precision and clarity. Collegiate instruction of choral conducting has historically focused on gesture. The proposed method puts emphasis upon internalizing the score, allowing the gesture to be organic. In this method the level of instruction is primarily determined by choice of musical score. Beginning conductors can apply this method to a simple four part hymn in English. Advanced conductors can do so with Stravinsky’s Les Noces. This presentation will set forth specific instructional techniques for teaching internalization of the score by way of demonstration and audience participation and will include a suggested two- semester course curriculum.

Gross, Murray Just a Moment Performed today by Dr. Casey Robards, Just a Moment, was inspired by the poignant, dramatic, and often unexpectedly daring piano music of Franz Schubert. Composed in 2012, much of the material derives from the haunting theme of Schubert’s Moment Musical opus 94 no. 2, a melody that weaves throughout the piece in various guises; as layers overlap, a ghostly dance becomes frenzied and wild, only to depart abruptly, leaving us to contemplate the reverberant echoes of this Moment Musical.

Groulx, Timothy J. A History of the Bands at Historically Black High Schools in Northeast Florida Much of the 20th century was a turbulent time in the United States for African Americans and civil rights. During this time of segregation on numerous legal and social levels, bands were becoming part of the culture of many schools across the nation. This study is a narrative history which sheds light on the band programs at the public high schools established for black students in Jacksonville and northeastern Florida. This history examines the legacy of directors such as Kernaa D. McFarlin, George H. Hill, and other black band directors, and the experience of being a student and a band member at Stanton, Raines, Matthew Gilbert, Douglas Anderson, Northwestern, Eugene Butler, Murray, Dunbar, and Peck High Schools. Topics include origins of the band programs at the end of World War II with the support of the Florida Association of Band Directors (FABD) and the experience of black band programs performing, traveling, and competing in Florida during segregation. Also considered are the effects of the merger of the FABD with the Florida Bandmasters Association (FBA) which brought black and white schools together before most of the county school districts did. Court-ordered school integration helped resolve some problems related to equality of opportunity, but it also engendered cultural assimilation and loss of a sense of community often centered on the high schools. While de jure segregation has ended, de facto segregation exists as three high schools in Jacksonville serve student bodies which are over 90% black.

Hamann, Keitha Lucas Graduate Students Do Engagement For seven years, the Community Engagement Leadership Team at the University of xxxx has managed a mini-grant program for faculty and graduate students who want to explore reciprocal and mutually beneficial engagement with community partners. While the long-term goal of developing sustainable partnerships can be important in faculty projects, given the short term nature of graduate study, a single project grant format can allow graduate students to develop their own ideas. Three graduate students from the University of xxxx will present innovative community engagement projects that were developed with the assistance of the single project grant. MS will describe a project for developing a Steel-Pan method book that she is piloting with her partner, BT at xxxx High School. CH will discuss the multiple projects that she has completed with adults and children with disabilities in both instrumental and choral settings and how this led her to complete the Disability Policy and Services Program certificate. TC will share his integrated arts approach to concert planning with a focus on fostering respect for cultural differences and encouraging active audience participation. Following an overview of projects, the panelists will discuss the challenges of developing a community engagement project as a graduate student as well as the benefits gained from such ventures.

Hand, Caroline see Hamann, Keitha Lucas (Graduate Students Do Engagement)

He, Jianjun Song of the Himalayas This work is a musical painting of the unique scenes of the Tibet Plateau: the high and steep mountains, the boundless grasslands, and the beautiful temples... It reveals the spiritual life of Tibetan people and shows their passion for music and dancing. Although the materials employed in this work are related to the Tibetan tradition, there is no direct quotation from the original folk music. Synthesizing Western compositional techniques with Tibetan musical elements this work sounds “old and new.” It shows the fusion of different cultures and reflects the diversity of today’s music.

Helfter, Susan Sustainability of University Community Engagement Programs Musical community engagement opportunities through universities and schools of music continue to provide valuable experiences for students that simply are not available in the studio or rehearsal hall. University students participating in the programs develop skills in teaching, relating with others, performance in unconventional yet real-world settings, but also experience a rich sense of diversity defined broadly and deeply, evolution in professional identity and perceptions of personal role in the community.

The community engagement programs involve collaboration of personnel from the university with other community entities and, appropriately, differ from one community to the next according to aims, programming, structure, and history. Some programs have been in existence for one or two years and are still finding their way, others have existed and dissolved, while still other programs have been in existence for fifteen years or more. This study investigated factors of sustainability among university community engagement programs that have continued for more than 10 years, analyzing interviews with key personnel, observations and program documents. Further analysis was conducted adapting and applying known models and factors of sustained collaborations identified by Mattessich, Murray-Close, & Monsey (2001). This presentation includes discussion of sustainability factors contributing to the success of each community engagement program individually and of all three programs collectively. Outcomes of particular interest are the varied processes among the three programs and characteristics of relationships within the university and with community partners. Also included are implications for the development of university music students as future leaders of collaborative musical initiatives with communities.

Helton, James Caton see Zhong, Mei (Introduction to the Vocal Repertoire of two Indianapolis Area Composers: Jody Nagel and Eleanor Trawick)

Hendricks, Brittany see Seidel, John (Songs of War and Loss, by Anthony Plog (b. 1947))

Herzig, Monika The Jazz Legacy of Indiana Avenue Traditionally, jazz history books trace the inception of the art form jazz from New Orleans to Chicago and its final destination New York. Of course, innovation rarely follows such a linear path and during those early decades many regional jazz scenes developed. Indiana, the Crossroads of America, not only became a central destination for recording sessions at the Gennett Studios, but a frequent stop for all touring bands as they traveled across the country. As a result, Indianapolis’ club scene featured 33 clubs on the two blocks around the Walker Theatre on Indiana Avenue during the height of the Jazz Age. In addition, the dedicated music teachers of the segregated Crispus Attucks High School pushed their students to perform at their highest potential. Such fertile environment produced a host of influential and world-renowned jazz musicians and educators such as Wes Montgomery, Freddie Hubbard, David Baker, J.J. Johnson, Slide Hampton, Larry Ridley, Leroy Vinegar, David Young, Willis Kirk, Killer Ray Appleton, and many more. This panel discussion will discuss the social, economic, and cultural factors that created this unique and fertile community, the teaching philosophy of the Crispus Attucks music educators, and the rise and fall of the Indiana Avenue scene due to the Civil Rights Movement and regional city development. Panelists will be artists and members of the original Indiana Avenue community and the historic Walker Theatre is three blocks from the 2015 Conference Hotel.

Hickey, Maud Local Case Studies of Change in Action The CMS report from the Undergraduate Task Force on the Undergraduate Music Curriculum charges Schools of Music to reconsider and reimagine the undergraduate curriculum in order to better prepare music school graduates for careers in yet-to-be imagined 21st century jobs. Conversations are taking place in music institutions all over the country, and some have begun to innovate change in their programs (or did so many years ago). This panel is made of up of representatives from three Schools of Music in the Indianapolis area who will share some of the innovative ideas and opportunities they have created in their schools. The institutions that will present their “cases”—the Jacobs School of Music at Indiana University in Bloomington, the DePauw University School of Music, and the Music and Arts Technology Department at IUPUI) —represent three very different kinds of institutions and therefore provide a variety of viewpoints and examples from which we can all learn.

Hickey, Maud see Burton, Suzanne (Multidisciplinary Perspectives on Community Engagement)

Hoyler, Emily Radio, Music Appreciation, and ‘Englishness’ at the British Broadcasting Corporation (BBC) in the Interwar Years The BBC’s promotion of British national composers and musical works in the interwar years capitalized on the widespread educational potential of radio and positioned music appreciation as central to national identity and lifestyle. BBC’s commitment to educational broadcasting and public service directly affected the trajectory of the so-called “English Musical Renaissance,” a historiographical construct that traces the revival of British national music from the mid- nineteenth to the mid-twentieth century. Throughout this period, figures in British musical circles sought to validate the nation’s musical vitality and promote musical idioms untainted by Continental influences. My research evaluates BBC’s substantial but previously under-explored contributions to this movement and challenges the terms under which the objectives and accomplishments of the “Renaissance” are assessed.

I argue that the perceived decline and revival of British national music depended on issues of gender in musical practice and education. New radio technology and BBC critics helped distance British music-making and music appreciation from persistent, centuries-old associations with femininity and effeminacy. My archival research suggests that BBC contributors endowed achievements in national music with a distinctly masculine undercurrent that enforced the relevance of music appreciation to BBC’s male audience. Critical discussions of national music at the BBC framed masculinity as a virtue of Englishness in music; radio advertisements and descriptions of Britain’s musical men further extolled music as a masculine interest. The BBC catalyzed an essential phase in the English Musical Renaissance through music education, engaging new technology to encourage music appreciation and national musical culture.

Hudson, Terry Lynn A Persistent Calling: The Musical Contributions of Mélanie Bonis and Amy Beach This lecture-recital examines parallels between French composer Mélanie Bonis (1858–1937) and American composer Amy Beach (1867–1944). These neo-romantic composers shared many characteristics, ranging from their claiming the piano as their instrument to composing under a pseudonym. The families of these two musicians failed to fully nurture their talents in favor of conformity, and while Beach and Bonis succumbed to societal expectations to marry well and raise a family, both later felt compelled to return to composition. Rediscovering their passions and musical identities as mature individuals, both composers realized their potential while in the prime of their lives.

Instrumental sonatas by Beach and Bonis provide a clear view of each composer’s style and scope. Beach’s Sonata for Violin and Piano, Op. 34 (1896) was her first large-scale chamber work, premiered in Boston with subsequent performances in Berlin and Paris. Dedicated to flutist Louis Fleury and composed while in her forties, Bonis’ Sonate pour flûte et piano en do dièse mineur, Op. 64 (1904) was just one of a number of larger works, although recognition as a serious composer was not always forthcoming.

As the Beach Sonata has been transcribed for flute and piano, the work may be compared to the Bonis Sonate: both feature the standard four movement formula, folk-like material, slower movements brimming with emotion, and exciting conclusions. A live performance of excerpts from both sonatas will highlight these significant yet rarely performed pieces deserving of our attention.

Huntington, Tammie M. see Soprani Compagni (Portraits of Women in Contemporary Soprano Duet)

Huseynova, Aida see Cook Glen, Constance (Sustainability in Music Study)

James, Kimberly Gratland Evidence-Based Singing: Incorporating Research & Technology in the Applied Studio In the spirit of Comprehensive Musicianship, capitalize on our organization’s unique ability to foster communication among music disciplines, as well as between music and other disciplines. Proposals concerning interdisciplinary/transdisciplinary initiatives in teaching, research, and performance are of special interest.

This presentation proposes a paradigm shift in performance-related areas drawing upon the principles of Evidence-Based Medicine (EBM). The application in this researcher’s area is therefore called Evidence-Based Singing (EBS) and calls on performers, teachers, and researchers to collaborate in ways that further the development of well-rounded practitioners. This researcher, identifying as a clinician similar to a medical doctor, began to question her own approach in singing and the teaching of singing noting an absence of contemporary voice research in practiced pedagogy. Although breaking from clinical pedagogic tradition is not the goal, this presentation emphasizes the idea that researchers, teachers, and performers should be in collaboration and that these participants are all stake-holders in musical processes. This researcher defines EBS as making a conscious effort to seek out the best current evidence in voice science and related fields when deciding how to approach individual vocal technique and styling. To practice EBS means to combine individual pedagogic experience with the best available external resources and evidence from high-quality research, taking into consideration the singer’s aesthetics and values. This presentation sheds light on the power relationships between teachers and their singers, knowledge gaps that can occur for teachers of singers, how teachers and singers can apply evidence-based principles, and factors that can affect buy-in with regard to EBS.

James, Kimberly Gratland see Jones, Robert (Sustainability and Academic Citizenship: Collegiality, Collaboration, and Community Engagement)

Jampole, Emma Joy see Palkki, Joshua (Problematizing Gender in Collegiate Music Programs)

Johnson, Vicky V. Why We Don’t Create Music in Schools: Can the Circle Be Unbroken? Music theory professors were surveyed regarding the competencies they perceived to be necessary for incoming music majors and for in-service music educators. They perceived freshman music majors to be unprepared for music theory in all areas except the ability to interpret music symbols and terms. However, music theory faculty members also rated those components related to notation to be most important in their own teaching and de-emphasized creative components, such as composition and improvisation. Studies have shown that of all musical competencies, in-service music educators are least confident in teaching composition and improvisation, perhaps because those applications were not emphasized in their training. Consequently, as in-service music educators, they de-emphasize these creative applications as well. The cycle of music teaching and learning is illustrated in this model:

[the model is a circular graphic: Music theory faculty who teach – music education majors who become – in-service music teachers who teach – K-12 music students who become – in-coming freshman music majors who are taught by – (and it circles back to the top/beginning)]

Omission or de-emphasis between any step in the cycle will stop the transmission of learning. The greatest responsibility lies with those who teach the teachers. Future music educators must acquire knowledge and skills in music theory, but must also feel competent and value applying what they learn to creating music. Only then will we be able to facilitate a teaching and learning process without critical gaps. For those of us who teach in the music theory sequence, are we doing our part?

Johnston, Jesse A. see Graf, Sharon (Public Musicology: Preparing Students to Engage beyond Academia)

Johnstone, Jennifer see Graf, Sharon (Curriculum Reform for Undergraduate Music Major: On the Implementation of CMS Task Force Recommendations)

Jones, Robert Sustainability and Academic Citizenship: Collegiality, Collaboration, and Community Engagement The CMS Academic Citizenship Committee believes that responsible citizenship, cultivated and nurtured within the academy, enables engagement with varied audiences and communities both on and off campus. The results of the committee’s 2014 survey, which focused on tenure and promotion procedures, overwhelmingly demonstrated that collegiality and collaboration contribute to establishing healthy working and learning environments. Cultivating these conditions is necessary to long-term sustainability of music programs, and for developing engaged audiences from diverse communities. Collegiality and collaboration engender mutual respect among faculty and administrators, providing healthy models for students who will be future music professionals.

Based on the outcomes of the 2014 Academic Citizenship Committee panel presentation in St. Louis, the committee will examine the relationship between collegiality and sustainability. Through electronic presentation and panel commentary, the Academic Citizenship Committee intends to stimulate an open forum discussion, exploring ways to encourage and nurture collegiality through active mentoring, and to engage and reinvigorate audiences by strengthening connections between performers and their constituent communities. The relationship between healthy work environments and prolonged sustainability will also be investigated. Strategies for minimizing or eliminating unhealthy policies and behaviors will also be solicited.

Junda, Mary Ellen see Jones, Robert (Sustainability and Academic Citizenship: Collegiality, Collaboration, and Community Engagement)

Junda, Mary Ellen Wade in the Water: Social Protest Songs and the African American Experience Music is a repository of histories, relationships and events culturally sustained through time. Likewise, African American music captures the spirit and essence of change and turmoil sustained through centuries of suffering and oppression. Beginning with the transatlantic slave trade to today, each stage of its evolution is marked by experiences, understandings, resilience and actions in creative tension with one another. Most of this complicated history has been chronicled in song and transported through time via the oral tradition.

In the early 1920s Lydia Parrish recognized the importance of this history and began working with descendants of slaves on St. Simon Island, GA to document their music, language, religious and social customs. That group evolved into the Georgia Sea Island Singers, and today their music is one of the most authentic, extant soundtracks of the African American experience available. This essay documents how the slaves used music as a tool for social protest by expressing the ugly essence of oppression, using biblical analogies to express optimism and hope and representing the determination of a people to survive. By continuing this tradition for almost 100 years, the Georgia Sea Island Singers remind those who listen how they keep faith with the past and honor their historical responsibility to continue the cultural lines of transmission that inform this rich and vital tradition.

Providing a theoretical framework inspired by notables in the field, we will explore the sustainability of social protest in the music of the Georgia Sea Island Singers through time, how social protest can create change, and how protest is performed.

Kato, Yuko Three Songs from Paris by Ned Rorem (b. 1923)

Early in the Morning Clouds Rain in Spring

Richmond, Indiana native, Ned Rorem (b. 1923) is probably best known for his 500 songs. In 1949, he moved to France and lived there until 1958. He later published The Paris Diary and The New York Diary, both of which chronicled his time there among the artistic elite in both an insightful and provocative way. The three songs chosen for this performance, Early in the Morning, Clouds, and Rain in Spring, were all written during his Paris residence. His choice of texts set in these songs suggest, as one reads in The Paris Diary, Rorem’s exploration of love and nature in the urban environs of Paris.

Keogh, Cassie A. Expanding the Analytical Toolbox: Analysis and its Performance Implications in Post-tonal Theory Classes using Joan Tower’s “Wings” for Solo Clarinet as a Case Study We often fail as teachers to make the connection between students’ analytical tools and the immediate applications of those tools in performance. Yet students’ understanding of both analytical tools and their own performances become much richer when they analyze their own repertoire. Joan Tower’s music can serve as a case study for both applying current and creating new analytical tools and drawing analytical conclusions that can clarify performance decisions.

Joan Tower’s chamber and solo pieces have become staples of the clarinet, saxophone, violin, and cello repertoire. Tower’s works develop outward from one or two small melodic or rhythmic fragments, which eventually coalesce into an entire piece. That motivic continuity creates accessibility for an audience, but the minute changes and large-scale form of Tower’s pieces create interpretive challenges for the performer. However, analysis of pitch and motivic transformation in Tower’s music helps clarify otherwise obscure performance decisions. Wings (1981) demonstrates her vibrant use of pitch emphases to generate and control the form of the composition. Tower manipulates and transforms the tritone to create both contrast and continuity between sections, as well as generate momentum, tension, and release. This lecture-recital will synthesize pitch analysis and formal design to illustrate the large-scale motivic and structural use of the octatonic collection in Wings. I will show how these analytical insights impact performance and interpretation of the piece, and discuss the larger pedagogical implications of the analysis, both in the clarinet studio and in the theory classroom.

Klickstein, Gerald 12 Habits of Healthy Musicians: A Framework to Enhance Health Promotion in Schools of Music New NASM guidelines are propelling music schools to offer health and injury prevention education. This session proposes a research-based framework to enhance diverse educational offerings.

Unlike approaches that center on teaching anatomy and physiology, which can thwart musician comprehension and application, this framework centers on health-promoting behaviors. It can be used to organize workshops, enrich courses, and integrate health promotion across the curriculum.

The presenter is a veteran faculty member with multiple peer-reviewed publications on the topics of musician health and injury prevention. Below are the 12 habits along with snapshots of the presentation content.

1. Increase playing or singing time gradually (a guideline that quantifies safe increases will be described)

2. Limit repetition (practice strategies that prevent overuse and boost learning)

3. Regulate hand- or voice-intensive tasks (how to balance musical and non-musical activities)

4. Manage your workload (preventing overwork; saying ‘no’ appropriately)

5. Warm up and cool down (a six-step warm-up; pointers for cooling down)

6. Minimize tension (principles of efficient movement informed by Alexander technique)

7. Take breaks (when and how much to rest; movements that offset asymmetrical playing positions)

8. Heed warning signs (identifying injury symptoms and a 3-part response that reverses symptoms early)

9. Take charge of anxiety (ways to counter performance anxiety and the anxieties that trigger overpractice)

10. Keep fit and strong (lifestyle choices that support mental, physical, and emotional vigor)

11. Conserve your hearing (hearing loss prevention structured in five parts)

12. Care for your voice (vocal health encapsulated under seven headings)

Kling, Elizabeth Singing into the Sunset: The Future of Vocal Performance in Higher Education In today’s dynamic world of vocal music, even classical singers are being asked to produce cabaret, jazz, musical theater, and other non-classical musical styles in order to reach a larger audience. For many, this means performing repertoire without having had any stylistically specific training. There are countless jobs available in the multibillion-dollar industry of American Musical Theater, but a purely classical vocal education does not provide all the tools needed for success. A summary will be offered, tracing the presenter’s journey as a classical singer and teacher through a culture dominated by musical theater and pop vocal technique. A discussion of the current job market for singers and professors of voice will be presented and ethical questions about our traditional university models will be raised. Enrollment trends for collegiate-level classical and commercial vocal programs will be compared. Universities with integrated music, theatre, and dance departments, and those who offer both classical and commercial vocal training will be identified and the hallmarks of their mission statements and values will be discussed. Sadly, the sun is setting on the old philosophy wherein classical singing was the only style worthy of academia. However, there is growing demand for cutting-edge collegiate training in contemporary commercial music, and increasing opportunity for singing teachers to enter the industry both as scholars and as pedagogues.

Knipschild, Ann see Garrison, Karen (Women Composers Vying for Acceptance)

Kruse, Adam Hip-Hop Perspectives on School, Schooling, and School Music This paper shares findings from research focused on better understanding the social contexts of hip-hop music education and illuminating potential applications of hip-hop to school music settings. In particular, this presentation focuses on hip-hop musicians’ perceptions of school, schooling, and school music. The use of an emergent design in this work allowed for the application of ethnographic (including autoethnographic) techniques within the framework of a multiple case study. One case is an adult amateur hip-hop musician named Terrence (pseudonym), and the other is myself (previously inexperienced as a hip-hop musician) acting as participant observer.

My history as a professional educator and Terrence’s perspective as a high school dropout offer a valuable contrast of beliefs, values, and assumptions about school and education. Exploring Terrence’s experiences with and perceptions of school, schooling, and school music help to understand him as a musician and learner and also allow for a critical investigation of my own perspectives. Recognizing my assumption-laden perspectives offers valuable layers of nuance toward complicating the relationships between schools, those who school, and those who are schooled. Exploring these perspectives on school, schooling, and school music reveals complex issues related to cultural deficit perspective, privilege, and place consciousness. I ultimately contend that hip-hop cultures possess the potential for critical improvements in some school music settings and that music educators might consider making a meaningful place for hip-hop within scholarship and practice.

Kuuskoski, Jonathan see Roberts, Rachel (Assessment Tools for Sustaining Arts Entrepreneurship Programs)

Lee, Christy Caribbean Classical: Art Music of Guadeloupe, Haiti and Curaçao Music of the Caribbean region is generally associated with folk, dance and popular forms. While steelpan, calypso, salsa and merengue are some of the more commonly known musical entities of the region, the Caribbean is also rich with largely unknown composers whose output includes works in a more classical vein. Often these composers have migrated to other countries or even continents; as a result their works show a unique fusion of their personal migrations with the inclusion of folk elements of their regions of origin. The styles of their compositions are as varied as the islands themselves. As composers of the Caribbean are slowly gaining recognition, a new understanding of and visibility for Caribbean art music is emerging. Caribbean Classical: Art Music of Guadeloupe, Haiti and Curaçao seeks to present, through discussion and performance, a sampling of compositions from the island nations of the Caribbean that each adhere to the traditional definition of art music while showing the folk influence of their native countries, whether it be through rhythms, harmonies, melodies, or a combination thereof.

This performance features original compositions of Joseph Boulogne (Guadeloupe/France), Julio Racine (Haiti) and Statius Muller (Curaçao).

Lehrer, Phyllis Alpert see McAllister, Lesley (One Size Does Not Fit All: A Glimpse into the Diversity in Musicians’ Health and Wellness Offerings in Higher Education)

Lemish, Noam Jazz in the International Sphere: Glocal Jazz Dialects and Poly-Idiomatic Creative Music In his famous 1991 article “Constructing the Jazz Tradition” Scott DeVeaux called for the emergence of new, alternative jazz narratives. Twenty years later, after two decades of important work by scholars belonging to the emerging field of New Jazz Studies, Sherrie Tucker’s compelling essay “Deconstructing the Jazz Tradition” (2012) asks scholars to continually challenge their own assumptions about jazz, their “subjectless subject”. Tucker asks, “What kind of narratives do we want to tell in the new jazz studies” (270)?

In following the footsteps of DeVeaux and Tucker, and seeking to highlight neglected corners of jazz history, my presentation focuses on the growing importance of the global jazz perspective, the emergence of “glocal” jazz dialects, as well as poly-idiomatic, genre-defying creative music. After presenting a brief critique of the discourse of American exceptionalism that continues to dominate the historical view of jazz in the United States, I will focus my attention on the music and thoughts of jazz artists creating hybrid “glocal” jazz dialects in diverse places such as Japan, Brazil, Israel, Zimbabwe and Italy. In presenting these oft-neglected musical practices coming from outside the US, I aim to highlight the work of jazz artists creating works of great vitality, while simultaneously calling for a more inclusive and pluralistic vision of the genre’s future.

Lindsay, Eric see Cook Glen, Constance (Sustainability in Music Study)

Lindsey, Jessica M. Speak Easy? Move Easy! Let’s begin the Prohibition Era of Musicians’ Injuries All musicians move for a living, yet many musicians do not categorize themselves as movers. This is a problem because musicians’ injuries occur during music making (movement). Musicians become injured when the Body Map doesn’t match anatomical structure, because the Body Map governs movement. Everyone has a Body Map, it is our personal concept of structure. The Body Map is a scientific discovery, which is also referred to as neuronal self-representation.

I speak about moving / music making (breathing, executing, and expressing) with anatomically accurate descriptions. In this lightning talk I provide terminology for educators to direct students in music making in ways that avoid pain, injury, and limitation. For example, I instruct musicians to “stand at full stature” instead of to “stand up straight.” I discuss the spine and outline its structure (curvy and segmented), function (located at our core and housing our central nervous system), and size (relationships to skull and pelvis).

In this lightening talk, I use some slides that inspire laughter and some that reinforce my information with science. I will ask: Is free the same as relaxed? As an example of “relaxed” I use images of people sunbathing on the beach; as an example of “free” I offer a photo of an inspirational musician in performance. To support the anatomical information I offer, I will show images of human structure, including skeletal drawings illustrating the relationship of the skull to the spine, both as they relate to one another and to the whole body.

Lyon, Matthew D. see Seidel, John (Songs of War and Loss, by Anthony Plog (b. 1947))

Mai, Huu see Gannaway, Kendra (INFUSION of Creative Thinking/Divergent Skill Development Activities in the Private Studio)

Malde, Melissa Hebrew Art Songs of the Yishuv The waves of immigration (aliyah) to Palestine and Syria that began in 1882 brought Jews from the Diaspora together. With them came diverse musical influences from Russia, Eastern Europe, Yemen and many other countries. The ancient Hebrew language, the only language common to all immigrants, was modernized and used for communication, literature and poetry. The yishuv (the period between the world wars before Israel became a state) witnessed an extraordinary flowering of Jewish musical culture, especially song settings in Hebrew. European composers stayed true to their training, but their style was influenced by the modes, ornamentation and rhythms of Yemeni, Sephardic and Arabic music. The outpouring of vocal music set to Hebrew texts included art songs, children’s songs, folksong arrangements, oratorio and opera. These gems are undeservedly unfamiliar in the United States, where singers who learn Hebrew as part of their religious education search fruitlessly for appropriate Hebrew art songs to program on classical voice recitals. By exploring the songs of four composers of the yishuv, we hope more musicians will become aware of this rich repertoire. A brief historic overview will lead to information on the composers and a performance of their music: Geshem (Rain 0:45) and Ruax (Wind 1:20) from Shirim l’Yeladim (Children Songs) by Paul Ben-Haim; Shechora Ani (I am Black 2:30) from Shir Ha-Shirim (Song of Songs), an oratorio by Marc Lavry; Zemer Nugeh (A Sad Voice 2:00) by Mordechai Zeira; Sisi admat hasharon (Rejoice, Land of Sharon 2:15), a folksong arrangement by Nachum Nardi.

Manchur, Jeff see Nemko, Deborah G. (Making Music Together: Composer and Performer Collaborations)

Mascolo-David, Alexandra see Stone, Sarah (Sirens of the Sea: The Explorers’ Muse)

Maurer, Kathleen see Zhong, Mei (Introduction to the Vocal Repertoire of two Indianapolis Area Composers: Jody Nagel and Eleanor Trawick)

May, Lissa F. see Hickey, Maud (Local Case Studies of Change in Action)

McAllister, Lesley One Size Does Not Fit All: A Glimpse into the Diversity in Musicians’ Health and Wellness Offerings in Higher Education In this panel presentation, five music wellness experts will share the content of courses designed to raise awareness of musician health issues among students at their respective universities. With reference to the NASM standards on music wellness, they will propose ideas for incorporating wellness into the curriculum at schools of different sizes, student populations, and areas of specialization.

The panelists will discuss how they cover a diverse range of topics, both psychological and physiological, as well as offerings that are unique to their program.

These faculty members have created unique, stand alone courses. With some of these courses in place for 25+ years, within this session, this experienced panel will demonstrate the wide range of possibilities for initiating wellness education at their institutions. Courses may be co-taught while others rely on guest guest lecturers from the community and extended faculty to expand the curriculum. One focuses specifically on the psychology and physiology of playing the piano. Using a multidisciplinary approach, the final panelist has developed a unique program to provide wellness resources to musicians and has begun an initiative involving faculty members from both the music school and their medical school. Representing a diverse assortment of schools and course offerings, this panel will help attendees realize the wide array of topics that can be offered, plus the many avenues available for incorporating musician wellness offerings at their own institutions.

McCoy, Mark see Hickey, Maud (Local Case Studies of Change in Action)

McKay, Marlin K. see Cook Glen, Constance (Sustainability in Music Study)

Meidell, Katrin Sustaining Humanity through Adversity: The Trios of Two Holocaust Survivors Two composers whose lives and musical language were deeply affected by the Holocaust are René Frank (1910-1965) and Mieczyslaw Weinberg (1919-1996). Both were born to Jewish families, and both fled their native lands after the rise of the Nazis. In 1936, Frank left France for Japan, where he spent 11 years. After the war he was granted a US visa and eventually settled in Fort Wayne, Indiana, where he lived out the rest of his life composing and teaching. Weinberg fled Poland in 1939 after his entire family was killed, and spent the rest of his life under Soviet rule. He was a prolific composer, with more than 20 large-scale symphonies, dozens of solo sonatas, and many other works, including a trio for flute, viola, and harp (1979), a work of intense emotion as well as peaceful beauty. Weinberg’s works have recently started to garner the attention they deserve, while Frank remains a little-known composer. His works include symphonies, oratorios and choral anthems, as well as a trio for flute, viola, and harp (1953) which only exists in manuscript form. It is a skillfully-crafted and expressive work, and it is appropriate that we present it during the 50th anniversary year of his death.

In keeping with this year’s CMS theme of sustainability, we present these two trios as evidence that even through intense adversity, people turn to the arts to maintain their humanity. Both composers were able to continue composing and, in fact, to flourish.

Mercier-DeShon, Michelle see Carlisle, Katie (Dimensions of Sustainability within a School-University Community Engagement Partnership)

Millar, Michael W. Music Entrepreneurship Panel: Case Examples from the Campus and Beyond Faculty and performers need to “think like entrepreneurs” when entering the marketplace, but theories and lesson plans only get them so far. When they see those lessons applied to real situations, they can begin to connect the dots and understand how to use their own creativity, point of view, and skills to successfully make a career out of their passion.

We’d like to propose a panel in which 4-5 members of this committee discuss the following:

• Examples of impressive student entrepreneurship on campus • Challenges that student entrepreneurs have overcome (and how they did so) • Frequently asked career questions that students have posed over the years (and your answers to them) • Personal stories of triumph and challenges with takeaway lessons and tips

Miller, Russell see Roland-Silverstein, Kathleen (Jean Sibelius and Johan Ludvig Runeberg: the Marriage of Finnish Music and Poetry)

Momand, Elizabeth B. The African Nightingale – The Black Swan: The Life and Career of Elizabeth Taylor Greenfield From being born into slavery to singing for a British queen, the life of Elizabeth Taylor Greenfield is an extraordinary one. Though the exact date of Greenfield’s birth is unknown, it is certain that she was born into slavery in Natchez, Mississippi, in the early 1800s. Within a few years of her birth, Greenfield’s slave mistress, Mrs. Holliday Greenfield, moved to Philadelphia and freed her slaves. Though her parents chose to return to Africa, Elizabeth remained with her mistress in the United States and adopted her last name. Mrs. Holliday Greenfield recognized Elizabeth’s talent and encouraged her pursuit of musical training and study, though the training she received was limited due to racist ideology.

Shortly after travelling to Buffalo, New York, to hear a performance of Jenny Lind, the Swedish Nightingale, Greenfield was able to present her own concert. While possessing a voice that purportedly spanned more than three octaves, Greenfield would never achieve the recognition that Lind did. Nevertheless, the comparison to Lind stuck, and Greenfield’s supporters and followers named her the African Nightingale which later evolved into the Black Swan. Though frequently subjected to racism, Greenfield’s career continued overseas for a number of years, before she returned to America to settle into a life of teaching.

This poster will present information concerning the fascinating life and career of Elizabeth Taylor Greenfield, the Black Swan, from her birth as a slave to her performance for British Queen Victoria.

Montaño, David R. see Jones, Robert (Sustainability and Academic Citizenship: Collegiality, Collaboration, and Community Engagement)

Moreno Sala, Maria Teresa see Fournier, Guillaume (A Comprehensive Classification System of Cognitive Strategies Used to Learn Sight-singing at College-level)

Murray, Michael F. Neutral Tones The poems in this cycle address the process of aging and how our perceptions of significant events in our lives change over time. When looking back on memories of life and love from a mature perspective, those memories often take on a different color.

“The Self-Unseeing” expresses the theme of changing memories as it moves from the present into the past with a marked contrast between the two perspectives. The second movement, “Looking Across,” reflects upon the passage of time and the loss of loved ones through death. The interplay between the voice and viola portrays the memories of interactions between dear friends. The movement ends with the narrator wondering why his own life continues while his closest friends are gone. The playfulness at the beginning of “The Robin” becomes resignation as the change of seasons brings upon the ultimate conclusion of the passage of time: death. (“When winter frost makes earth as steel, I search and search but find no meal.”) The concluding movement, “Neutral Tones,” most directly expresses the themes common to the cycle: aging, changing memories, winter, and death. The colorless imagery of the outer stanzas (“And the sun was white…” “a pond edged with grayish leaves”) is reflected in the stark accompaniment of the viola, while the intense bitterness of the second and third stanzas (“The smile on your mouth was the deadest thing”) is enhanced by the clipped, angry delivery of the singer.

Myers, David E. see Chattah, Juan (Beyond Reading and Writing Music: Multiple Literacies in the University Music Program)

Myers, David E. see Younker, Betty Anne (President’s Forum: Continuing the Dialogue: Undergraduate Curriculum)

Nemko, Deborah G. see Chattah, Juan (Beyond Reading and Writing Music: Multiple Literacies in the University Music Program)

Nemko, Deborah G. Forgotten and Suppressed Dutch Composers of World War II: A Presentation on Selected Piano Compositions of Daniel Belinfante Dutch Jewish composers who, because of their religion or their resistance to the Nazi regime, were often suppressed during WW II. Their music was forbidden to be performed or published and many of the composers themselves went into hiding, were sent to concentration camps, or fled the Netherlands as refugees. Since many of the works from this time exist only in manuscript and few recordings have been made, the music is not accessible to musicians and the general public both in the Netherlands and in the United States though it is deserving of recognition.

Composer Daniel Belinfante wrote at least 18 works for piano and, like many Dutch composers of the time, his work reflects the influence of French composers like Debussy and Ravel as well as American jazz music. He was co-partner of the “First Private Music Conservatory” in Amsterdam In 1915 he was noted as an active musician and composer in the Dutch music scene. Many manuscripts were rediscovered in 2004 and are found in the Dutch Music Institute. Daniel helped to hide family members and others during the Nazi occupation and was later interred in Auschwitz where he died in 1945. The purpose of this lecture-recital is to bring to light Belinfante’s works written before the War, including a brief performance of works like his Polyrhythmic Studies.

Nemko, Deborah G. Making Music Together: Composer and Performer Collaborations This panel will feature composers and performers who have worked together on collaborations to create and perform new works. Panel members will include faculty and students who are advocates of new music. The panel will share insights into the process of bringing a new work from idea from conception to performance and will encourage audience participation in the discussion. The panel will also address networking, connecting with potential collaborators, finding funds for commissions, programming ideas, and strategies to bring music from “the shelf” to the music stand.

Nichols, Charles Sabin Il Prete Rosso Il Prete Rosso, for amplified violin, motion sensor, and interactive computer music, was inspired by the violin concertos of Italian Baroque composer and virtuoso violinist Antonio Vivaldi, who was nicknamed The Red Priest, because of his red hair and Catholic ordination. In the piece, the amplified violin is recorded live and played back in four parts, spatialized around the audience, as an accompaniment with itself. A motion sensor on the wrist of the violinist tracks bow arm performance gesture, to interactively control audio effects in the computer.

Nytch, Jeffrey see Millar, Michael W. (Music Entrepreneurship Panel: Case Examples from the Campus and Beyond)

Olivieri, Mark see Nemko, Deborah G. (Making Music Together: Composer and Performer Collaborations)

Ondracek-Peterson, Emily The End of the Conservatory Without significant curriculum investigation and revision, the traditional conservatory education will graduate students who do not have the ability to create sustainable careers in the music industry of the twenty-first century. The End of the Conservatory will present research conducted by the members of this panel and informed by their own personal experiences at Juilliard, Peabody, and Cleveland Institute of Music. The panel’s combined research panel reveals that both current students and alumni from the highest-level conservatories are concerned and frustrated with their post-graduation job prospects and believe they are severely lacking in certain skill areas necessary to creating sustainable careers. If conservatories do not reimagine their curriculums, students will migrate to alternative sources of education.

An examination of the issues in three major subject areas – music history, music theory, and career skills, will be presented. Music history and music theory curriculum have increasingly less applicability to careers post-conservatory. Music history learning tends towards rote memorization of dates without creating context and applicability, while theory is keyboard-based and not tailored to individual areas of study. Career development has seen a surge of professional and institutional interest, but there is no organized consensus about how to train musicians for careers and very little academic research in this area to determine what musicians actually need or want to create a sustainable career in the twenty-first century.

This panel presents unique academic research and will discuss ways to adapt the antiquated conservatory education to ensure the survival of the conservatory and the sustainability of musical careers in the current industry.

Overland, Corin Salary and Gender in Accredited University Music Faculty: 2000–2013 On average, American females of all professions continue to earn lower yearly salaries than their male counterparts doing the same work. At one time the greatest gaps between male and female salaries were found in minority populations performing unskilled labor, but today it is skilled and white-collar professions that demonstrate the greatest disparities. Terminal degree-holding faculty in the nation’s colleges and universities are no exception, and for full-time female music professors, any systemic shortfalls due to gender could constitute a double penalty of sorts, since faculty in the humanities already earn far less than other academic disciplines. The severity of any academic wage gap depends heavily on rank and discipline, so to that end this report describes how salary differences have manifested bewteen male and female music faculty at assistant, associate, and full professor ranks in public and private schools accredited by the National Association of Schools of Music (NASM) since 2000. Analysis of Higher Education Arts Data Services (HEADS) surveys revealed that the average salaries of female music professors were consistently lower than those of males across the study period, but only by 4%; a far more modest differential than many other academic disciplines. However, when examining the highest reported salaries, the salary disadvantage to females widened to approximately 15%, with the greatest differentials appearing in the highest ranking appointments in public universities and in those that serve the largest number of music majors. The lowest reported salaries of female full professors showed a reversal of this trend, a 13% increase over their male counterparts, perhaps as an artifact of the salary compression that occurs with longstanding full professorship.

Palkki, Joshua Problematizing Gender in Collegiate Music Programs Music is a highly gendered enterprise in general (e.g. women’s and men’s choirs, disciplines like wind conducting dominated by men), and gender issues in higher education inspire complex philosophical questions (Jacobs, 1996). Research suggests that women in colleges and universities may experience income inequality (Bellas, 1997) and may need to balance professional and familial responsibilities (Mason & Goulden, 2004). However, it appears that no reduction in research productivity can be attributed to these familial responsibilities (Sax, Hagedorn, Arredondo, & Dicrisi, 2002). Gender is now seen by many as a spectrum of sorts (Linstead & Pullen, 2006), rather than a binary female/male distinction. Recent explorations explore the role transgender and/or gender fluid students play in college and university settings (e.g., Bilodeau, 2005; Padawer, 2014), though little research on transgender faculty members exists (e.g., LaSala, Jenkins, Wheeler & Fredriksen-Goldsen, 2008). Because they reside within the college or university structure, departments/schools of music operate within an educational structure that “remains remarkably unaffected by feminism” (Gould, 2011, p. 130). The proposed panel includes scholars from various areas of study within schools of music (musicology, applied performance, conducting, music education) who will discuss gender issues that influence their teaching, performing, and research. Panelists include a diverse group of music scholars, from graduate students to full professors, whose lived experiences encapsulate various perspectives on issues of sexuality, race, and gender. These lived experiences and scholarship on gender issues will drive the conversation within the context of higher education music programs.

Park-Kim, Phoenix Lesser Known Chamber Works by Two Influential Hoosiers, Ned Rorem & David N. Baker Ned Rorem (b.1923) and David N. Baker (b.1931) are two contemporary composers born in Indiana whose musical legacies are far reaching in the landscape of today’s American music.

Ned Rorem is one of America’s most honored composers especially for his art songs. In addition to the wealth of his more than 500 art songs, Rorem has equally impressive instrumental works as well. He wrote several string quartets which were presented by major ensembles such as the Emerson and Ying string quartets and he also composed generously for piano and solo winds. However, compared with vocal works, his chamber music remains among the contemporary music’s best kept secrets.

Born in Indianapolis, David N. Baker is currently a Distinguished Professor of Music and Chairman of the Jazz Department at the Indiana University School of Music in Bloomington, Indiana. Although known mostly as a virtuoso jazz performer, as a composer, Baker has been commissioned by more than 500 performers and ensembles. The world renowned cellist, Janos Starker, was among the first of the major classical artists to give his attention to the non-jazz works of Baker. Sonata for Violoncello and Piano (1973), commissioned by Starker, is a remarkable work that shows the inception of Baker’s assertion of stylistic freedom.

In this lecture recital, we hope to shine a spotlight on lesser known chamber music written by these two Hoosier composers featuring movements from Dances and A Little Fantasy by Rorem and selected movements from Baker’s Sonata for Cello and Piano.

Park-Kim, Phoenix see Soprani Compagni (Portraits of Women in Contemporary Soprano Duet)

Patterson, Anne L. see Jones, Robert (Sustainability and Academic Citizenship: Collegiality, Collaboration, and Community Engagement)

Pepple, Joanna Sustaining a Musical Pedagogy across Continents: The Leipzig Conservatory and Its Impact on American Musical Institutions Over 1,500 American students studied at the Leipzig Conservatory between 1843 and 1918, impacting American musical life in music publishing, musical instruments, concert life, and especially pedagogy. Leipzig graduates and colleagues subsequently founded institutions such as the Oberlin Conservatory of Music and the New England Conservatory of Music in 1865 and 1867, respectively, which reflected pedagogical ideas and curricula taught in Leipzig. Theory textbooks by Leipzig faculty members were translated by English-speaking students and used in American classes, such as the translations of texts by Ernst Friedrich Richter (1867) and Salomon Jadassohn (1893). Faculty and leadership at nineteenth-century American conservatories had typically studied in Leipzig or knew individuals who had profited from the institution’s pedagogy.

Initially founded by Felix Mendelssohn and a Board of Directors in 1843 to provide professional training for musicians, the Leipzig Conservatory emphasized harmony, composition, and performance, and accepted both men and women, Germans and foreigners. Several Americans were thus attracted to the institution through its pedagogy, faculty, opportunities, and reputation, including George Whitefield Chadwick, Maud Powell, John P. Morgan, and George W. Steele. This paper pursues the education and curricula at the Leipzig Conservatory in its first seventy- five years and its impact on Americans who guided higher education in the United States, emphasizing class instruction, its conservative leanings, and repertoire and texts used in teaching, ultimately revealing significant roots in the history of American musical pedagogy.

Peres, Asaf TechnoSpeak: Why the Language of Music Technology Should Be Integrated Into the Music Curriculum The emergence of the recording studio and the digital audio workstation (DAW) in recent decades has introduced new ways of thinking about music. Ideas of tension and release or motivic development, previously carried out primarily through pitch relationships, can now manifest in sound production techniques, such as filter sweeps and sound layering. This is particularly prevalent in today’s pop music, which, despite its immense presence in our culture, receives little attention in the music curriculum and academic discourse. I argue that in order to gain insight into this music, one must be familiar with the language and techniques used in the recording studio, in the same way that familiarity with tonal language is required to effectively analyze tonal music. Introducing music technology classes into the core curriculum in college- level music education is an important first step towards integrating these bodies of music into the music theoretical discourse. This paper will demonstrate how sound production terminology is essential to the analysis of these rapidly growing bodies of work, such as contemporary pop and various electronic music subgenres, through analyses of songs recorded by artists such as Rihanna and Aphex Twin.

Perttu, Daniel E. Capricious Variations The title “Capricious Variations” is a bit of a contradiction: the variation form tends to be a more structured form, whereas the adjective “capricious” suggests a piece that is subject to sudden and unaccountable changes. This piece dances to the tension created by this contradiction.

Peterson, Erik see Ondracek-Peterson, Emily (The End of the Conservatory)

Peterson, Erik Value Judgment: Evaluating the Economics of a Conservatory Education Tuition at The Juilliard School for the 2014-2015 academic year is $38,190—an increase of over 100-percent since the 2000-2001 year. A four-year degree from Juilliard is now estimated to cost $240,000. (Other conservatories boast similar numbers.) These amounts represent a serious commitment for prospective students and pose potentially troubling circumstances as students enter a tight and traditionally low-paying employment market.

Concurrently with these tuition increases, Juilliard is boosting enrollment numbers and is even opening its first overseas branch in Tianjin, China, as part of its Juilliard Global initiative for overseas growth. Currently, Juilliard’s endowment is near $1 billion, an amount larger than many colleges and universities. Would Juilliard (and other conservatories) better serve its students by following the Curtis model (select enrollment and tuition-free) rather than aggressively pursuing growth? Which conservatories could adopt this model financially?

This paper explores the sustainability of the conservatory’s economic model in the twenty-first century. Various parameters including enrollment numbers, tuition costs, and endowments are used to determine value-ratios in conservatory education. These numbers are then examined in relation to traditional colleges and universities to place in context the value proposition of conservatories. Finally, conservatory value-ratios are evaluated in relation to opportunities and likely salaries as opposed to other specialized career trajectories in higher education. Are conservatory value-ratios in line with other career paths at traditional colleges and universities? Can conservatories expect to sustain these value-ratios or is a new model needed?

Phang, May Star Burning Blue, by Kelly-Marie Murphy (b. 1964) Canadian composer Kelly-Marie Murphy was born on a NATO base in Sardinia, Italy, but grew up on Canadian Armed Forces bases all across Canada. With a penchant for emotional accessibility, brilliant orchestration, and virtuosity, her music has been described as “breathtaking” (Kitchener-Waterloo Record), “imaginative and expressive” (The National Post), “a pulse-pounding barrage on the senses” (The Globe and Mail).

Commissioned by the Esther Honens International Piano Competition for its 1996 First Laureate Maxim Philippov, Star Burning Blue is a single movement work that roughly depicts the life cycle of a main sequence, supergiant star. From the composer’s program note:

“Main sequence stars such as the sun make up nine out of every ten stars we see from earth. Some supergiant stars have a high luminosity and shine with a blue light, indications of their high temperature. The strong gravity of the massive star attracts more and more matter, giving it greater mass. This in turn increases the star’s gravitational influence and the rate at which it can gather more matter. The bigger the blue star becomes, the brighter it shines and the faster it burns its nuclear fuel until the inevitable stellar explosion. The cycle then begins again with the remnants of the supernova.”

Star Burning Blue explores a musical cycle of power and energy. Stability spins out of control and is then regained. The tempo increases, the range becomes more and more extreme. When the shattering finally happens, time is slowed by relativistic effects as high energy fragments rush out into the vacuum. Ironically, this peaceful moment is created by violent destruction. As the particles of music drift, they are caught eventually in their mutual attraction and coalesce once again.

This performer has specifically selected Star Burning Blue to celebrate “Sustainability”, CMS’s 2015 national topic. The ubiquity of the cosmos and its regenerative powers are truly inspirational wonders.

Piguet, Delphine How to Develop and Sustain an International Career as a Professional Musician: The Case of Fabrice Millischer, French Trombone Player Performing an instrument at a professional level requires years of practice and implies competitiveness at a high level. The music performance major is a perfect example of hard work and a dedication to excellence. Physical and psychological elements come together in order to share the musical art to an audience. But one can wonder, what separates a great musician from a world-wide famous one. What does it takes for college students and is there a secret recipe to attain such a level?

This paper will present the case of the young Fabrice Millischer, winner of many national and International trombone competitions and currently considered as the best trombone player in the world. I will begin with an overview of his education, awards, and major performances displaying his comprehensive musicianship. I will then present his latest achievements explaining how his exceptional career is adding to the corpus of the trombone repertoire and ultimately imposing the highest standard of trombone practice in the world.

From a performing standpoint, the high quality of performances is crucial in order to be recognized. However, great social skills are essential in order to create and sustain a social network, which starts at an undergraduate level. Furthermore, for the sustainability of such a career, it is necessary to revitalize the repertoire and continue to work on new projects. This paper will not only describe Fabrice Millischer career but will offer a methodology of success applicable for any performing majors.

Pike, Anastasia see Ondracek-Peterson, Emily (The End of the Conservatory)

Pike, Pamela D. Communicating Our Professional Value within the University There is little doubt that music faculty are productive; annual reviews report high numbers of performances, research publications, and professional presentations. Student assessments show that students are learning the requisite skills of music performance and patrons are attending and supporting student and faculty performances. Yet, due to our diverse areas of specialization within the field of music, we do not always communicate well amongst ourselves, and colleagues in other academic disciplines may not understand how music is significant for the cultural vitality and educational life of the university and the broader community. Thus, music administrators and faculty must have suitable metrics and ways of demonstrating the value of faculty creativity and student learning within the larger university if music schools are to be considered vital assets to the community.

For the past year, members of the committee for Music in Higher Education have been engaged in discussion about the value of our work and about how we communicate that value to colleagues, constituents, and other stakeholders. At the 2014 CMS national conference, committee members explored this topic through a forum that included dialog with the audience. The session was extremely well attended, attesting to the need for a shared set of values and common metrics that can serve to guide us at our individual institutions. The committee has come up with such a report and will be sharing our ideas, suggestions, and findings for valuing faculty creativity and student outcomes during this presentation.

Plazak, Joseph Lightning Forum: Student and Faculty Perspectives on Technology within Higher Education To contribute to the Society’s interest in the role of technology within higher education, the Student Advisory Council hosts a lightning forum for both faculty and students on the topic of “best practices” for educational technology. The purpose of this session is to continue the exchange of ideas between CMS students & faculty regarding the impact of technology on student learning. In a fast paced forum, paired student and faculty presenters will explore topics that include: 1. What specific uses of educational technology enhance, distract, and/or merely change student learning? 2. What components of the music curriculum might be successful as online courses? 3. Automated feedback: Can computers provide meaningful assessments? 4. What are the best practices for utilizing online course management systems (Moodle, Blackboard, etc.)? 5. Technology for lifelong learners: what happens when the semester is done? 6. Textbooks in an open-source world: Can we bear the cost of free material? 7. The power in your palm: what role should mobile technology perform in the classroom?

The latter portion of this session will be designated as an open-forum, in which attendees (both students and faculty) are encouraged to join the panelists in sharing their perspectives.

Popeney, Mark Songs for Agatha This piece was written as a collaboration with a fellow CMS member, Chelsea Green (who will perform the piece at the conference). The song cycle is a setting of three poems by the contemporary poet Heather Green, who was also a collaborator on the project. Each is inspired in some way by Japanese literature and film - specifically, the late filmography of famed director Akira Kurosawa and the novels of Banana Yoshimoto. A quasi-narrative, the cycle explores loss and the delicate strength one finds when coping with it.

My setting of the text attempts to preserve the soft and fluid tone of the source material, encased within a somewhat minstrel-like, oratorical presentation. To create a sense of timelessness, I sought to write a guitar accompaniment that was harp-like, both in terms of its texture and its shifts in modality. In order to preserve the subtle strength of the texts, the cycle is understated, finding its emotional climaxes is the quiet intensity of the solo voice.

Priebe, Craig A. see Seidel, John (Songs of War and Loss, by Anthony Plog (b. 1947))

Purciello, Maria Anne see Burton, Suzanne (An Interdisciplinary Quest for Improving Pedagogy)

Rabideau, Mark see Hickey, Maud (Local Case Studies of Change in Action)

Rabideau, Mark see Millar, Michael W. (Music Entrepreneurship Panel: Case Examples from the Campus and Beyond)

Raposo, Jessica Adjunct-Friendly Assessment: Creating Comprehensive Assessment for an Adjunct-Packed Music Program One of the biggest challenges facing many small college and university music departments is the need to produce quantitative, data-driven program assessment in a highly subjective and diverse discipline. This challenge is heightened when full-time, tenured faculty lines are disappearing from budgets in favor of an increasingly adjunct faculty.

This paper will demonstrate the solutions found at a small regional campus of a large state university, where the music program contains one full-time faculty member (coordinator of the program) and close to twenty adjunct faculty. Over the course of two years, both the full-time and adjunct faculty collaborated together to create flexible yet measureable assessment for students in the music major. Steps in creating this plan included:

• Formation of program learning objectives • Revision of program course requirements • Development of a curriculum map to show achievement of objectives throughout program requirements • Creation of common syllabi that allow for the individual learning stages for each student • Creation of rubrics and other assessment-collection methods • Creation of a program handbook for both students and faculty to provide a central source for established standards and procedures

The common need throughout this process was to create an assessment plan that would not require a heavy amount of administrative work for adjunct faculty, but would also streamline management of the plan for the program coordinator. This paper will outline the structure of this assessment plan, provide examples of the developed materials, and show the first results of data collection for the program.

Ray, Marcie see Palkki, Joshua (Problematizing Gender in Collegiate Music Programs)

Mary Anne Rees (The CMS Fund) CMS Fund Awards This poster will showcase the work of the 2014 CMS Fund grantees, including recipients of Seed Grant Support Awards, Yamaha In-Residence Fellowships, the CMS Instructional Technology Initiative Award, and the Robby D. Gunstream Education in Music Award. These projects represent examples of interdisciplinary/transdisciplinary initiatives in teaching, research, and performance as well as examples of engagement and outreach.

Rhinehart, James Mbira Mbira is a piece using both fixed and live-processed audio. All fixed audio is derived from two mbiras (African thumb pianos). These same two mbiras are used in the largely improvisatory live performance.

Rice, Timothy see Graf, Sharon (Curriculum Reform for Undergraduate Music Major: On the Implementation of CMS Task Force Recommendations)

Richter, Elizabeth see Meidell, Katrin (Sustaining Humanity through Adversity: The Trios of Two Holocaust Survivors)

Rito, Justin Toward a Rhythmic Transformational System: David Lang’s “Cheating, Lying, Stealing” Transformational music theory has become an integral analytical approach in academic circles over the past several decades. Although some of David Lewin’s earliest analyses using transformational theory included rhythmic studies—see, for example, his analysis of Mozart’s Symphony in G Major K. 550 in GMIT—the field of transformational theory has focused primarily on pitch rather than rhythm as its musical object. In addition, the majority of literature in transformational theory focuses on older repertoires of music. My paper presents one possible direction for research using rhythmic transformations through an analysis of the work cheating, lying, stealing by the contemporary composer David Lang. I use Richard Cohn’s 1992 beat class technology to demonstrate a rhythmic transformation by which the opening motive in cheating, lying, stealing is progressively expanded during the work. In other words, this transformation builds upon itself by altering rhythms that have already been affected by its previous uses, thereby creating continuity and building musical interest. With this study I highlight an underrepresented repertory in music research—works by living composers—through a unique adaptation of a well-established theoretical model. In doing so, I argue that minimalist music and the music it has influenced, which are both occasionally criticized for their lack of musical development, can be heard and explored through rhythmic transformations that underscore some of their most interesting and rewarding characteristics.

Roberts, Rachel Assessment Tools for Sustaining Arts Entrepreneurship Programs This forum will present examples and applications of program assessment models for arts entrepreneurship programs. Two co-presenters, representing conservatory and university programs, will compare and contrast assessment models and provide tangible takeaways for session attendees. The forum will present and discuss three distinct areas of arts entrepreneurship assessment. The first area of focus applies to specific, tactical methods of capturing and implementing data collection during and after program events. The second area will focus on how to purposely tailor assessments to individual program-level initiatives, and how those results can be applied towards ongoing strategic planning projects. The final area aims to explore assessments through collaboration with alumni departments, specifically surrounding the development of longitudinal studies. Within the growth of arts entrepreneurship programs, ongoing assessments of both student and alumni populations are a critical component to capturing the lasting and ongoing impact of this education. Better understanding how this education impacts the career trajectories of music students has broad implications for both assessing university-wide graduate outcomes and continuing the development of these educational initiatives.

Robinson, Airdrie Pleine de Feu, Pleine de Audace, Pleine de Change; Examining the Role of the Méthode de Violon in the Establishment of the French Violin School The influence of the French Violin School of the late eighteenth and nineteenth centuries has been an integral force in violin pedagogy for more than two hundred years. Its inception may be traced to 1782 when Italian violinist Giovanni Battista Viotti performed in the Concerts spirituels of Paris, causing a sensation with his “new style” of playing. Notably, Viotti produced no dedicated pedagogical materials; thus, his influence is best viewed through the works of his chief disciples - French violin virtuosi Rodolphe Kreutzer, Pierre Rode and Pierre Baillot. As inaugural professors of the Paris Conservatoire, they championed Viotti’s musical aesthetic and created pedagogical materials enabling its dissemination. In 1803, these professors collaborated to produce Méthode de Violon, a technique manual expounding Viotti’s style and establishing a French Violin School of performance practice. By embedding musical and stylistic challenges in a pedagogical manual designed to explore techniques of execution, Méthode challenged eighteenth-century instructional paradigms, transforming pedagogical practice from one that was mostly repertoire/style-driven to one with a didactic emphasis on the mechanics of execution. Such innovation emerges as a defining element in the musical traditions of the nineteenth century.

This paper identifies idiomatic signature elements of the French Violin School style and categorizes the musical instructions found in Méthode in terms of 1) those dedicated to the exploration of techniques made possible by the newly developed Tourte bow and “modernized” violin, and 2) those designed to be corrective of an older style and reminding players to use a new performing aesthetic.

Rodgers, Stacy D. see Rowlett, Michael (Cookbook: Combining Music and Film)

Roland-Silverstein, Kathleen Jean Sibelius and Johan Ludvig Runeberg: the Marriage of Finnish Music and Poetry The year 2015 marks the 150th anniversary of the birth of Jean Sibelius (1865–1957), considered still to be Finland’s greatest composer. His emergence as an icon of Finland’s nationalistic musical resurgence at the end of the 19th century dove-tailed with the rise in importance of revered Finnish poet, Johan Ludwig Runeberg (1804-1877.)

Along with many of his musical contemporaries in Sweden, Sibelius was greatly attracted to Runeberg’s poems. His first published work, Serenad, was a Runeberg setting, and Sibelius went on to set forty more of his poems. Opus 13 and opus 90, the two song cycles featured in our proposal, are evidence of the composer’s great regard and reverence for the poet’s themes and poetic language, and exist as stylistic bookends. The earlier opus was Sibelius’ first song collection, written in the early 1890’s. Opus 90 was his final set of songs, with most completed in 1917, a particularly important time in Finnish history; it was on December 6, 1917, that the Finnish parliament declared Finland an independent state, and civil war ensued. Opus 13 exhibits a variety of stylistic influences, from German lied to impressionism. Opus 90, while hearkening back to some of Sibelius’ earlier characters and themes, is completely unified in the composer’s mature style.

These vocal gems clearly delineate Sibelius’ compositional style over a period of almost thirty years. It is in keeping with this year of worldwide celebration of Sibelius that we propose to perform these important and beautiful songs.

Romero, Brenda M. see Chattah, Juan (Integrating New Analytical Paradigms within the Undergraduate Music Theory Curriculum)

Rosenfeld, Jennifer see Millar, Michael W. (Music Entrepreneurship Panel: Case Examples from the Campus and Beyond)

Routenberg, Scott Headwinds Headwinds is a three-movement woodwind quintet hybridizing elements of jazz and classical music. Movements one and three function as contrafacts of two jazz repertoire mainstays: the twelve-bar blues and “rhythm changes.” These two movements are also played with swing and feature idiomatic jazz melodies, harmonies, and rhythms.

Movement one, A Bolt From the Blue, opens with a modern take on the blues in F, with the quintet mimicking a small jazz ensemble. The bassoon imitates upright bass walking lines, and each instrument is featured in a written improvisation over one chorus of the form. The beginning of the horn solo playfully quotes the main theme of Strauss’ Till Eulenspiegel’s Merry Pranks, which also served as Thelonious Monk’s inspiration for his blues Straight, No Chaser. After the solos, the quintet begins a shout chorus with a quote from John Coltrane’s Giant Steps.

The middle movement, Vignette, transforms melodic and rhythmic motives from the first movement into a lushly orchestrated, impressionistic and through-composed ballad.

Movement three, Changes, sets a new melody to the chord progression of George Gershwin’s I’ve Got Rhythm, known fondly to jazz musicians as “rhythm changes.” As with movement one, Changes pays homage to generations of jazz musicians’ re-interpretations of the standard repertoire.

Rowlett, Michael Cookbook: Combining Music and Film We would like to present an interdisciplinary artistic creation, combining musical performance and film. Kenji Bunch’s Cookbook is a four-movement sonata for clarinet and piano with programmatic movement titles and expressive markings: Smokehouse (With a rich aroma); Bubbles (Rolling boil); Heirloom (Nostalgic); and La ultima noche en la casa de flamenco (Bold and spicy). Using those titles as a point of departure, we have collaborated together with a documentary filmmaker who has produced several films on foodways, the interaction between food and culture. We agreed that we did not want the music to accompany the film in the traditional sense, but rather that the two arts should share equally in the goal of expression. The film does not have a narrative, and it lacks hard cuts that are synchronized with the musical performance, so that the film functions together with Bunch’s piece as an additional layer of texture and meaning. We feel that our project is an eloquent expression not only of one possible interpretation of the piece’s programmatic content, but also of the endless creative possibilities afforded by artistic cooperation. Cookbook is a compelling and striking work, and we have performed it numerous times with this film as a visual accompaniment. Our performance is 20 minutes long. The film can be viewed at .

Saint, David see Demsey, Karen (The Search for Musical Identity: Actively Developing Individuality in Undergraduate Performance Students)

Salazar, Lauryn C. Interrogating Academic Mariachi: Tradition, Systemization, and Pedagogy With the proliferation of academic programs and competitive festivals, school based mariachi ensembles have gained popularity throughout the Southwestern United Sates. These programs provide a space for students to connect with the cultural traditions central to Hispanic heritage and to acquire and refine the skills needed to perform in mariachi ensembles. Competitive activities, modeled on the band contests that are a central aspect of school music ensembles, are increasingly important to academic mariachi programs. These competitions provide an opportunity for student groups to showcase their talent and cultivate creativity by presenting new and sophisticated musical arrangements. Because competitive events impose an adjudication system that is foreign to the mariachi tradition, educators are faced with the challenge of preparing students for these competitions at the expense of the tradition itself. This means that the learning processes that have long been central to the mariachi tradition are ignored as teachers with little knowledge of those traditions impose the instructional paradigms used in the western instrumental education.

This paper explores historical approaches to learning mariachi repertoire and instruments. What was once a primarily aural tradition is evolving to include the use of written method books and formal ensemble arrangements. Rather than attempting to put the conceptual understandings of mariachi apprenticeship into a written format honoring the learning processes of that tradition, currently available instructional materials tend to be organized in ways that mimic the instrumental methods of traditional music education. We explore ways of designing instructional materials that might enable educators to incorporate both traditional and evolving pedagogical approaches. This will facilitate musical agency among young mariachi performers, honor tradition, and enable continued evolution of the genera.

Schimpf, Peter Defining the Boundaries of the History of Rock and Roll through Student Perceptions As the History of Rock and Roll becomes more commonplace in college and university curricula, the genre’s narrative has become increasingly standardized. Textbooks by Covach, Larson, and Stuessy have surprisingly similar presentations about Rock’s evolution and central issues. The problem with these narratives is that the delineation between the genre of Rock and Roll and other forms of American popular music is ambiguously defined. The various genres that contribute to Rock’s evolution also complicate the distinction of exactly what defines the music at its various stages. Issues of race, culture, capitalism, and class certainly inform the narrative, but they also complicate the basic definition of the genre as something presumably separate from, though influenced by Soul, Folk, Funk, Hip Hop and so on. This is a broad problem that cannot be dealt with simply. As we seek to define the boundaries of any popular music genre, perhaps popular perceptions, as well as scholarly academic assessments, should contribute. For the past three years I have collected data from students in my History of Rock and Roll classes that indicate their perceptions of the genre prior to the presentation of my basic narrative. The results partly affirm and partly run counter to the prevailing academic narratives. This paper will present this data and consider it within the context of defining boundaries and essential narrative of Rock and Roll.

Schmunk, Richard Popular Music Degrees: Creation and Implementation Historically, musicians and composers in popular music genres have been highly successful at learning and acquiring through informal methods based on self-teaching. In recent years degree programs in popular music performance and song writing have begun to appear in schools of music at American colleges and universities. Blending self-teaching modalities with the traditional methods already in existence at these educational institutions has been one of the big challenges of integrating these new programs into the extant teaching and learning cultures. This presentation will examine the curriculum development and implementation of a popular music performance degree program at a conservatory of music attached to a large American university. The presentation will include the rationale for selecting foundational musicianship courses, curricular areas where new courses were necessary, and the ways that formal and informal teaching methods were integrated into the curriculum. Through the results of interviews with members of the faculty responsible for building the degree and then those faculty who have taught in the program for the last six years, the presentation will also share best teaching practices, successful outcomes and areas where ongoing development continues.

Schreiber, Paul Reworking Music Theory to Better Serve the K12 Music Teacher This presentation intends to explore music theory and how it can be reworked to better serve the K12 music teacher. This paper approaches music theory from the stand point of the music education side as opposed to the music theory side of the discussion. By doing so you get a different perspective on what the needs of students are in order to better prepare students for working in a K12 situation. In addition, it will present a new/different theory curriculum or way of looking at a theory curriculum to utilize for students who are pursuing a music education degree.

Points include: the relationship of music theory in the real world classroom, and the role of the K12 music teacher. Most of what students learn in music theory does not really apply to the classroom teaching. What does apply to the classroom teaching is not stressed enough. Outside of the fundamentals of music theory (scales, key signatures etc. ), oral skills are the most important aspect of music theory in classroom teaching. The paper includes interviews with present music teachers, as well as a survey and the results.

Schultz, Diane Boyd see Lee, Christy (Caribbean Classical: Art Music of Guadeloupe, Haiti and Curaçao)

Scoggin, Lisa All (Arts) Inclusive: Teaching Cartoon Music Until recently, the study of film music has been considered inappropriate for academia, and the study of music in animation doubly so. Even now, many see music in animation as being on the fringes of legitimate study. Yet studying cartoon music has much to recommend it, especially in context. In addition to the music itself, one may learn aspects of filmmaking, art, cultural history, sound production, and the effects of technology on society, among other things. Nor do cartoons focus exclusively on children: one need only look at Betty Boop or the wartime cartoons of Bugs Bunny to see some very adult humor. Indeed, using cartoon music, a professor may cover a wide variety of topics in the twentieth and twenty-first centuries, making it ideal for an interdisciplinary non-major course. Unfortunately, very little has been done to help those who would wish to teach such a course but do not have a strong background in the subject. Based on my own research and in-depth experience from teaching a similar course, I will present detailed information for a class on Music in American Animation, including a fully detailed syllabus, resources for easily accessible primary and secondary source material and videos, sample lecture outlines that promote interdisciplinary thinking, and class projects that are both entertaining and enlightening for today’s student. This material (plus a little work on the instructor’s part) should produce a course that is not only fun, but culturally enriching and mentally stimulating for all involved.

Seidel, John Songs of War and Loss, by Anthony Plog (b. 1947) Anthony Plog composed Songs of War and Loss in 2010 in response to a commission by the American Brass Quintet and vocalist Christopheren Nomura. The collection consists of eight movements for brass quintet and baritone voice, with texts taken from Leaves of Grass by American poet Walt Whitman (1819–1892).

Today’s performance includes three of these movements. In the first (“Beat! Beat! Drums!”), Plog uses the brass quintet as a literal embodiment of the poetic text, which thrice references the raucous cries of military bugles. Whitman’s three stanzas, which read as an extended exhortation to the musical instruments of war, follow the clamor as it seeps into the fabric of everyday existence, from the civic institutions of church, school, and courtroom to the intimacy of the bedroom and finally to the gruesome “trestles” where the dead “lie awaiting the hearses.” The second movement, actually the fifth from Plog’s collection, sets Whitman’s text “Race of Victors.” The short text is here reproduced in its entirety:

Race of veterans! Race of victors! Race of the soil, ready for conflict! race of the conquering march! (No more credulity’s race, abiding-temper-d race;) Race henceforth owning no law but the law of itself; Race of passion and the storm.

Today’s final movement (movement VI from the complete work) is eerily titled “Reconciliation” and describes the chilling moment when a soldier beholds the dead form of his enemy and sees the reflection of himself.

Sennet, Rochelle The Piano Sonatas of James Lee III: Trends in African American Classical Music This lecture will survey the two piano sonatas of James Lee III, African American composer who is rapidly becoming well known in American classical music circles. Through discussion of the two piano sonatas, my aim is to demonstrate how James Lee III incorporates a variety of African, Latin American, and European musical idioms within the traditional sonata framework. Composed in 2002 and 2011 respectively, the piano sonatas demonstrate the continuing trend of black composers who incorporate a variety of cultural influences within a traditional framework. The second goal of this lecture is to show how composers such as Lee are bringing music reflective of the African American idiom to wider audiences. Orchestras such as The National Symphony, Baltimore Symphony, Philadelphia Orchestra, Detroit Symphony, Memphis Symphony, and Indianapolis Symphony, have all performed James Lee III’s works. Moreover, Leonard Slatkin began to champion Dr. Lee’s work, with a premiere in Washington D.C. at the Kennedy Center with the National Symphony Orchestra. Finally, the lecture will include a brief discussion of both sonatas. The first sonata, in three movements, is composed in a traditional sonata form, with a mixture of orchestral style, full chords, and Latin rhythms reflective of Ginastera influence. The second sonata, in four movements, is a programmatic work which reflects the further incorporation of newer harmonic and rhythmic elements, as well as registral changes. The lecture will conclude with a performance of the first and last movements of Lee’s Piano Sonata No. 1, totaling 12 minutes in length.

Shaftel, Matthew R. see Chattah, Juan (Integrating New Analytical Paradigms within the Undergraduate Music Theory Curriculum)

Shahriari, Andrew see Graf, Sharon (Curriculum Reform for Undergraduate Music Major: On the Implementation of CMS Task Force Recommendations)

Sherry, James Wallace From the Heart and From the Heartland: Trumpet and Piano Music of Midwestern Women Composers The purpose of this presentation is to spotlight exceptional works for trumpet and piano of Midwestern Women Composers. This presentation will include the performance of new music as well as presentation of research on the topic. Information will be provided to enable the participant to locate vast resources of new trumpet works as well as link trumpet players to composers.

The pieces to be featured will include excerpts from: Saltarello by Lauren Bernofsky, Bloomington, Indiana (2 minutes) Arioso by Patricia Morehead, Chicago, Illinois (3 minutes complete) Frenetic Dream by Hye Kyung Lee, Denison University, Granville, Ohio (2 minutes) Vista Dreams by Stella Sung, composer-in-residence Dayton Philharmonic (2 minutes) Sonata by Karen Amrhein, from Dayton, Ohio (4 minutes complete) Prayer by Amy Dunker, Clarke University, Butler University (3 minutes complete)

Other pieces to be discussed include: Silent Ocean by Karen Tanaka, University of Michigan/Cal Arts Sonata by Elaine Fine, Charleton, Illinois Preambulations by Barbara Harbach, University of Missouri-St. Louis Incantations by Mary Jeanne Van Appledorn, Michigan native Patricia’s Aria, Francine Trester, University of Akron Hejnal Mariacki, Natalie Williams, Indiana University

In advocating a heart-felt “act local, buy local” philosophy, it seems increasingly important to support our own Heartland communities and foster new music. This lecture-recital identifies a cadre of brilliant composers with ties to Midwestern communities and institutions and showcases their compositional style. Each composer presents the trumpet in an innovative manner, highlighting its idiomatic character, while summoning subtle and powerful sonic attributes unique to the combination of trumpet and piano.

Shulstad, Reeves see Snodgrass, Jennifer Sterling (Beginning at the Source: Preliminary Action in Redesigning the Core Curriculum)

Sindberg, Laura see Dobroski, Bernard (The 1965 and 1973 Seminars on Comprehensive Musicianship: Their Relevance as a Foundation for Music in Higher Education)

Sindberg, Laura Sustainability, Engagement, and Professional Development: How a Group of Music Teachers and One Professor Set Out to Start a Revolution Professional development is widely accepted among secondary teachers—in music as well as general education; for some, this is necessary for re-certification or licensure, for others, it is viewed as a moral responsibility and a means of continued growth. One of the increasingly accepted practices includes learning in community, with Professional Learning Communities an increasingly popular model of teacher development.

For the past three years, a group of eight music educators in a small community north of the Twin Cities has met monthly with a music education faculty member as facilitator. The focus of this community of practice has been the study and implementation of a distinctive framework for planning instruction that helps students understand the music they are performing rather than a singular focus on technical prowess. That framework is Comprehensive Musicianship through Performance. With the support of their district, these teachers have embarked on a revolution as they work together to implement this holistic approach in their junior high and high school bands, choirs, and orchestras.

The purpose of this presentation is to share the experience of this professional learning community and their work: the ways in which they’ve engaged with each other and their students, challenged their thinking and re-tooled their practice through “small victories” as they shift from a podium-centric ensemble to one that engages students with questions and discussions, giving the students a voice in their musical experience, and forwarding a sustainable model for professional development. Sort of a revolution in the band room.

Skadsem, Julie A. see Snyder, Courtney (Raising a Family and a Career: Balancing Motherhood and the Tenure Track)

Snell, Alden see Burton, Suzanne (An Interdisciplinary Quest for Improving Pedagogy)

Snodgrass, Jennifer Sterling Beginning at the Source: Preliminary Action in Redesigning the Core Curriculum As educators currently teaching in the undergraduate core curriculum, one of our greatest missions should be to provide applicable and relevant content in our classrooms. It is well documented that changes are occurring in how this content is presented to our students in classrooms nationwide. New pedagogical philosophies are emerging, including the flipped classroom, the integration of comprehensive musicianship, and new definitions of the canon. The recent publication of “Transforming Music Study from its Foundations: A Manifesto for Progressive Change in the Undergraduate Preparation of Music Majors” encourages faculty to embrace the integration of improvisation, creativity, and composition in the core curriculum. In response to this document, a music theorist and musicologist sought to better understand the perceptions on how the core is currently being addressed. A survey was given to both current students and alumni (500 students) which asked questions regarding the relevancy of the core curriculum in terms of assessment, improvisation, composition, and genres studied. A similar survey was given to both applied faculty and ensemble directors (40 faculty) in order to better understand thoughts on their perception of the core curriculum. This presentation will feature the results of this study and provide insight into how faculty can best be informed as they work to better integrate new approaches, genres, and skill sets into the core curriculum.

Snyder, Courtney Raising a Family and a Career: Balancing Motherhood and the Tenure Track In the academy, women with children face a wage penalty of around 10-15% compared with women who have no children (Waldfogel, 1998). Women with children also have a 22% lower probability of obtaining a tenure track position than do women without children (Wolfinger, Mason, and Goulden, 2008), and being both female and a mother puts a woman at risk for negative penalties when it comes to advancement through tenure and promotion (Ginther & Kahn, 2004; Wolfinger, Mason, and Goulden, 2008). These inequalities persist despite recent research (Krapf, Urpsprung, and Zimmerman, 2014) showing no statistically significant difference in research productivity between women with children and both their female counterparts without children and their male counterparts with and without children. “Researchers agree that married women who work outside of the home experience far greater conflicts between work and family roles than their male counterparts” (L. M. Brown, 2010, p. 472). For example, in Grant’s (2000) study of twelve female collegiate band directors, “Balance of career and family was an issue that every one of the women perceived to be a problem” (p. 102). In this presentation, three female professors who are either tenured, have been recently awarded tenure, or currently on the tenure track discuss their experiences with raising small children in the academy while maintaining significant productivity in terms of scholarship and creative work. Specifically, the presenters will explore “diverse positions and meanings of motherhood within various contexts, with special attention to location, experience, and power” (Kawash, 2011, p. 979).

Solomon, Nanette Kaplan The Riches of Their Rags: Indianapolis Ragtime by May Aufderheide and Julia Lee Niebergall American ragtime, the craze of the fin-de-siècle to the roaring 20’s, had its origins in African roots music; its most iconic composers were the well-known “Big Three”- Scott Joplin, Joseph Lamb, and James Scott. Less well known is the sizable body of ragtime written by women, who composed, according to historian Max Morath, “some of the most musical ragtime tunes”. While ragtime in general was a black, male-dominated field, women composers of ragtime were primarily white, middle-class, and classically trained pianists. The Indianapolis area was one of the strongholds of white ragtime, and spawned the talented composers May Aufderheide (1888- 1972) and Julia Lee Niebergall (1886-1968).

During her brief career, Aufderheide played an important role in the development of white ragtime in Indianapolis. Her first published composition, “Dusty Rag” (1908), was a big hit and is considered the first major rag of the Indianapolis-Ohio valley. She then published “The Richmond Rag” the following year, the first of many compositions to be published by her father’s new publishing company; the title pays tribute to Richmond, Indiana- the city to which she had just moved with her new husband. Niebergall, in contrast to other ragtime women, maintained a lifelong career in music. Her first ragtime composition, “Hoosier Rag” (1907) ,was published by Remick, at that time the nation’s largest publisher of popular music. Several of her other rags were published by Aufderheide’s father as well.

This lecture-recital will present historical and biographical context of the composers, and feature performances of Aufderheide’s “Dusty Rag”, “Richmond Rag”, “ A Totally Different Rag”, and Niebergall’s “Clothilda”, “Hoosier Rag”, “Horseshoe Rag” and “Red Rambler Rag”. The CMS national conference in Indianapolis will provide a serendipitous backdrop for exploration of these rewarding and entertaining compositions.

Solomon, Nanette Kaplan see Gray, Colleen G. (Shining Jewels: Exploring the Songs of Lee Hoiby)

Song, Anna see Jones, Robert (Sustainability and Academic Citizenship: Collegiality, Collaboration, and Community Engagement)

Soprani Compagni Portraits of Women in Contemporary Soprano Duet This lecture recital showcases works composed specifically for soprano duet by award-winning, contemporary American composers recognized and affirmed by publishers, performers and peers from around the globe. In an effort to further the genre of the soprano duet for the plethora of aspiring sopranos within our studios, the works presented today emphasize significant women and their philosophical contributions to our society at large. Lori Laitman’s duet, Fresh Patterns (3:45), combines two poems – one by Emily Dickinson, and one poem about Emily Dickinson by contemporary American poet Annie Finch. Bruce Trinkley’s work, One Life: The Rachel Carson Project will be sampled with movement #5, “Rachel’s Creed,” (5:36), based upon the life and writings of Rachel Carson, who launched the ecology movement in America. The program will conclude with Indiana resident composer Jody Nagel and his work, Two Women (5:51). Nagel’s composition sets an anonymous poem contrasting the lives of two ladies, one representing the working class and the other representing the privileged elite, after the election of Salvador Allende, president of Chile, and following his murder during the military coup in 1973. Soprano repertoire often depicts limited portraits of women, themed around love for her man, external beauty, and unfulfilled dreams. The performing ensemble seeks to utilize this program to promote the contributions of women in our society through performances by women, about women, connecting our hearts and lives across generations, and encouraging more women to embrace their calling and to let their (soprano) voices be heard.

Soto, Amanda C. Con Mucho Sazón: Latin American Conceptions of Music and Music Education As the largest minority group in the United States, Latinos have long been integral in shaping the American cultural and musical landscape. Fitzpatrick (2012) and Williams (2014) have noted that students experience cultural conflicts when the musical and cultural practices valued in families and with friends are ignored, spurned or degraded in schools. Often unintentionally but nonetheless widely evident, Latin American communities have been excluded and marginalized by American school and university personnel responsible for musically democratic learning. This panel seeks to advance notions of inclusivity and authentic cultural representation vis-à-vis Latin American music and pedagogical approaches in formal curriculum at all levels and contexts, including primary, secondary, and tertiary courses.

The first panelist will offer pathways of knowing the embodied rhythms of Latin American musics (from cumbia to salsa) in eurhythmic ways. The second panelist will provide engaging, diverse and affordable music experiences to underserved populations of Hispanic and/or ESL students within classrooms of children, youth, and adult learners. The third panelist will discuss his experience teaching in marginalized, underserved Latino communities and will discuss implications for pre-service music education programs related to emerging practices and social justice while reflecting on his position as a Latino musician, teacher, and scholar. The fourth panelist will examine the challenges and successes of a university-level music education degree with a minor in mariachi performance and will reflect upon its role within the expressed mission of curricular relevance for students who will work with students of Mexican (and other Latin American) communities.

Spaniol, Douglas E. ‘New’ Works for Bassoon and Piano by Julius Weissenborn German bassoonist and pedagogue Julius Weissenborn (1837–1888) is known to bassoonists the world over, mostly for his famous Method for Bassoon (Praktische Fagott-Schule) and two sets of etudes. However, even many bassoonists are unaware that he was also a successful composer of concert music having written works for voice, piano, wind ensemble, and a complete cantata for chorus and orchestra. His compositions for bassoon and piano especially reveal his skill as a composer, and these works have been receiving increased attention recently as evinced by new editions and commercial recordings from renowned bassoonists. Some of these bassoon and piano solos were originally intended for study and performance by students. Weissenborn called these “Tone and Performance Studies” (Ton- und Vortragstudien). However, even some of these ‘studies’ are of such quality that they have been performed and recorded by professionals. Recent research has brought to light three previously unknown works from this set of Tone and Performance Studies. However, only the bassoon parts remain; the original piano parts have been lost. This lecture-recital will present these three short works with reconstructed piano parts alongside two complete works from the set (11 minutes total). Together, these works present a rare example of Romantic solo wind repertoire designed for pedagogical purposes. The process of reconstructing the missing piano parts will be discussed. Further, the role of these works in Weissenborn’s original plan for a complete three-part bassoon curriculum (that sadly never came to fruition as originally intended) will be examined.

Stamatis, Yona see Graf, Sharon (Public Musicology: Preparing Students to Engage beyond Academia)

Stannard, Jeffrey see Pike, Pamela (Communicating Our Professional Value within the University)

Stephens, Robert W. see Junda, Mary (Wade in the Water: Social Protest Songs and the African American Experience)

Stevens, Daniel B. see Burton, Suzanne (An Interdisciplinary Quest for Improving Pedagogy)

Stone, Sarah Sirens of the Sea: The Explorers’ Muse Under the visionary leadership of Dom Henrique de Avis (1394–1460), Henry the Navigator, Portugal was the first European kingdom to reach out across the oceans expanding its borders and trade routes during the Age of Discoveries. Long excursions to unknown lands required that sailors and soldiers leave their loved ones behind, often for years at a time. “Saudade”, the longing for family and homeland, permeates Portuguese literature, poetry and music.

The culmination of years of independent research and performance this lecture-recital illustrates how women came to serve as sources of comfort to men--not only sailors and poets, but also the composers who, in the centuries since, found in these muses inspiration for their work. Lending particular significance to the research and performance of this literature for voice and piano is the complete lack of published scholarly work on this topic. From an early baroque keyboard work, through colonialist chanties, a neo-romantic song cycle, to a well-loved fado (popular Portuguese song), the proposed repertoire includes: • Toccata in D minor, Carlos Seixas (1707-1742), [3:00) • “Menina, você que tem”, Joaquim Manoel da Câmara (1780-1840), [2:00] • “Se queres saber a causa”, José Francisco Leal (1792-1829), [2:00] • Três Redondilhas de Camões, Croner de Vasconcelos (1910-1974), [5:54] • Prelude No. 4, António Fragoso (1897-1918), [1:00] • “Ai Mouraria” , Frederico Valério (1887-1961), [2:30]

Through a careful examination of this long overlooked repertoire, a rich collection of Portuguese music may be introduced and sustained for future generations.

Svard, Lois Teaching, Learning, and the Brain Whether we teach in the studio, classroom or direct an ensemble, we often teach in ways that were modeled by our own favorite teachers, or we use pedagogical ideas that we learned during our undergraduate and graduate studies. Rarely does any of this pedagogy include information about how the brain functions when studying and performing music. But neuroscientists have been studying musicians and the process of making music for the past two decades, and the wealth of information they have uncovered can significantly inform our pedagogical ideas in the studio, the classroom and the rehearsal room.

George Kochevitsky’s 1967 book, The Art of Piano Playing, proposed that practicing the piano is primarily practicing of the central nervous system and that sooner or later, whether we teach piano or another instrument, we would have to incorporate knowledge about brain function into our ideas about pedagogy. That time has arrived. Not only do we now have access to research about motor skill learning in the brain, but also research involving brain activation when learning the academics of music.

This workshop will explore neuroplasticity, the most relevant brain research area for musicians. Neuroplasticity is the ability of the brain to change in response to practice and learning. Understanding plasticity is of crucial importance in promoting effective and healthy practice on one’s instrument. It also has great significance in the classroom because different areas of the brain are changed as the result of different teaching methods. The workshop will include exercises and discussion.

Sweeney, Aryn Up a Half-Step (omaggio a Luciano Berio), for oboe and i-phone, by Amelia Kaplan (b. 1963) Up a Half-Step (omaggio a Luciano Berio), for oboe and i-phone, is an homage to Luciano Berio, one of the acknowledged masters of solo instrument writing. His work, Sequenza No. VII, is for solo oboe and a drone on B natural. My work uses a drone on C natural, up a half-step from Berio’s. The artificiality of the electronic sound, a pure sine tone, is the point of departure for the oboe, one of more “human” sounding instruments in its complexity of timbre and melodic capabilities. Although my work will make reference to Berio’s in its use of extended techniques (multiphonics and flutter-tongue), and somewhat to gesture, it will be a bit more melodic and will use a greater variety of gestures, in line with my compositional language.

Tan, Kia-Hui Ronald Caltabiano: “Lines From Poetry” for Solo Violin American composer Ronald Caltabiano has served as dean of the Jordan College of Fine Arts at Butler University in Indianapolis since 2011. His beautifully evocative Lines From Poetry (1992) for solo violin, drawn from poets Robert Browning, Jim Barnes, C.P. Cafavy, Walt Whitman, Sandro Penna, E.E. Cummings, W.H. Auden, John Ashbery, Margaret Atwood and Thomas Gray, is a fine example of both his musical style and artistic credo, the subject matter reflecting his interests in “the arts within a liberal arts context, the integration and mutual influences of all the arts, and the relationship between arts and the community.” [Butler bio] In 1992 “Caltabiano began to experiment with short, dramatically disparate movements, each with a sharply defined character. These multi-movement works are unified by a single over-arching line and by motivic and rhythmic transformations.” [Grove Music Online] In “Lines From Poetry” (22’), “each of the nine movements is based on personal impressions of one or two brief poetic statements […] The relationship of the music to the poetry is more impressionistic than programmatic. It was my desire to compose a work that would highlight both the virtuosic and lyrical aspects of the violin. These elements are often juxtaposed between movements (as between the first and second), and sometimes within one movement (as in the third). To provide unity, all the movements share an ever-varying cantus firmus, as well as motivic elements.” [composer’s notes] Caltabiano holds Juilliard degrees and American Academy of Arts and Letters, Guggenheim and Rockefeller awards.

Telesco, Paula Stylistically Constrained Meter: Differences between Music Composed in 3/4 and 6/8 Many musicians regard meter as an intellectual construct, not something that can be perceived beyond a regularly recurring accent pattern (e.g., duple, triple, quadruple). Furthermore, research indicates that beat perception is itself constrained by tempo, regardless of the actual meter signature.

I propose that aurally recognizing and understanding the differences between meters is a matter of training and enculturation. This is especially true for music written in 6/8 and 3/4, meters whose differences often cause consternation for students, whether in the theory/aural skills classroom, or in performance. For example, given a moderate tempo of eighth note = 150 (e.g.), one may not be able to perceive the difference between three simple beats of 3/4 vs. two compound beats of 6/8, without knowing the rhythmic patterns and styles of music most closely associated with each. My poster shows that music written in these meters is typically stylistically constrained, with considerable consistency across genres and style periods.

Thus, to help our students better understand these differences, we should begin by having them listen to (while following the scores of) music that epitomizes those features, so that those stylistic traits and differences become apparent and ingrained.

My poster includes examples of both art and popular music, composed in 6/8 and 3/4, and 1) compares the examples to the contemporaneous theoretical and performance-practice literature to determine how closely they correspond; and 2) highlights the similarities and differences between music written in these meters.

Torgovitskaya, Julia see Millar, Michael W. (Music Entrepreneurship Panel: Case Examples from the Campus and Beyond)

Trantham, Gene S. see Plazak, Joseph (Lightning Forum: Student and Faculty Perspectives on Technology within Higher Education)

Van Schalkwyk, Willem see Malde, Melissa (Hebrew Art Songs of the Yishuv)

VanNordstrand, Shelby Is Opera Sustainable? This lightning talk explores the past and current state of opera as an art form and industry, and gives a projected analysis of its future sustainability. The talk utilizes graphs, charts, and anecdotes to illustrate data of past and current audience demographics, attendance, number and location of companies, number of productions, economic impact, social media impact, box office income, millennial spending habits, and financial support from private and government sources. In addition, the talk compares the number of artist employed, overall cost of production, and profitability of musical theatre to opera. Furthermore the data presented explores our perceptions of the term sustainability, and how opera might be sustained with non-traditional production models. The talk hypothesizes that opera is sustainable, but not with the current traditional business model.

Volker, Mark D. Deep Winter Although it begins with a three-minute, flute-tacet electronics section, the flute player performs the balance of Deep Winter quite independent of the electronic part. As notated in the score, after the initial flute entrance, the player does not look for any cues from the electronics. He or she performs from this point on as if playing a solo flute piece. The electronics respond and interact to the player. The flute player controls all tempos, pauses, ritards, accelerandos, etc. simply through his or her performance.

Deep Winter is an abstract musical drama set in an intense but radiant snowscape. It is the stylized record of a journey through a frozen world. The perspective moves from muted, sheltered positions to wild rushes through a snowstorm. As an interactive piece in which a computer has been programmed to respond to the live performance, the flute player is in control of tempo and expression for most of Deep Winter. The computer listens to the flute player and compares what it hears to a programmed score. At certain places in the score, the computer responds by implementing programmed musical events. These events include custom-designed software “instruments” as well as processing of the live flute sound. The programming and voices were generated using the software package MAX/MSP.

Wald, Jean P. Pianists Speak! Musicians in Conversation with Robert Dumm, 1959–2006 The collection of 452 interviews, plus ancillary material including transcriptions, notes, books, workshop posters, compositions, articles, letters and photographs, was given to Stetson University between 2007 and 2009. Mr. Dumm (1928–2012) had a long career in music, including performing, teaching privately (an early proponent of class piano), serving as Dean of the Boston Conservatory (1958–1968), and establishing a program in piano pedagogy while serving on the faculty at Catholic University. For many years he wrote reviews of recordings and concerts for the Christian Science Monitor and articles on piano teaching for magazines, including Clavier, where he also served as a consulting editor. Mr. Dumm’s lifelong passion was to interview musicians associated with the piano, including performers, teachers, composers, collaborative pianists, conductors, and others. The Collection includes Van Cliburn, Leopold Stokowski, Nadia Boulanger, Ania Dorfmann, Rudolph Firkusny, John Browning, Gary Graffman, Ruth Laredo, Moura Lympany, Adele Marcus, Rosalyn Tureck, Maria Curcio, Emmanuel Ax, Paul Badura-Skoda, Igor Kipnis, Leon Fleisher, Vladimir Ashkenazy, Stephen Hough, Stephen Kovacevich, Henry Steinway, William Hupfer, and Dorothy Taubman, among others. The Library at Stetson cataloged the tapes, making the presence of these interviews known to scholars via WorldCat. The music specialist librarian is in the process of digitizing the cassettes. In addition, a collaborative transcription project with Stetson’s History Department, involving students in its Public History/Oral History track, began in September 2014. An archival list of all the items in the collection is being prepared for Special Collections at duPont- Ball Library at Stetson University.

Watanabe, Mihoko see Meidell, Katrin (Sustaining Humanity through Adversity: The Trios of Two Holocaust Survivors)

Webster, Peter R. Comprehensive Musicianship and the Manifesto for Undergraduate Education: Lessons from History and Looking Forward In 1965, 50 years ago, the Seminar on Comprehensive Musicianship was held at Northwestern University. Its purpose was to develop and implement means of improving the education of music teachers for multiple levels of music teaching and learning. The first portion of this paper will review this event as well as the many documents that have been produced since that time that have focused on comprehensive musicianship. Research about this movement will be reviewed and a summary of its impact on today’s college curriculum will be noted. Results of this review will reveal that, although very well intended, progress toward curricular revision has not been evident. The second portion of the paper will reflect on why this has occurred and will build a foundation for how this can be addressed now. This will lead to a third section that will link this data to the new Task Force study from CMS that calls for fundamental change in undergraduate education. The paper will conclude with a series of recommendations to bring the spirit of the comprehensive musicianship project back to contemporary thinking as we strive to redesign undergraduate music education for the 21st century. This conclusion will offer several important links between this set of recommendation and the new Core Standards for Music Teaching in the public schools recently released by the National Association for Music Education and will place special emphasis on those standards that encourage creation of new music.

Webster, Peter R. see Gannaway, Kendra (INFUSION of Creative Thinking/Divergent Skill Development Activities in the Private Studio)

Webster, Peter R. see Younker, Betty Anne (President’s Forum: Continuing the Dialogue: Undergraduate Curriculum)

Weidner, Brian Developing Independent Musicianship in the Ensemble Classroom The development of musical independence and self-regulation strategies is a primary goal for musicians of all types. For many secondary students not enrolled in private lessons, the primary opportunity for developing musical independence is in their high school music large ensemble courses. A critical component of music teacher education is preparing pre-service teachers with effective approaches for promoting their students’ growth through independent practice within music ensembles. Several studies in music education and cognition have addressed the practice strategies and habits of musicians at various levels of expertise as well as the role that private and studio instruction play in developing musical independence. Little attention has been given to the role and process of secondary level, large ensemble classes for developing these same skills. I will present a qualitative study of a high-succeeding high school band program and the insights gained by looking at the culture that has been cultivated there in terms of the classroom’s role in supporting the growth of student independent musicianship. Unique characteristics of this classroom, the teacher’s beliefs, and the curriculum and pedagogy that successfully contributed to the development of student musical independence will be discussed. These observations will lead to recommendations for collegiate music educators regarding the development of methods curriculum to address the music educator’s role in developing their students’ musical independence.

West, Chad L. see Cremata, Radio (Why Inbreed When We Don’t Have To? New Sustainable Enrollment Strategies: Reflections on the Manifesto by CMS’s Task Force on the Undergraduate Music Major)

Williams, David A. see Graf, Sharon (Curriculum Reform for Undergraduate Music Major: On the Implementation of CMS Task Force Recommendations)

Williams, David Leander see Herzig, Monika (The Jazz Legacy of Indiana Avenue)

Woods, David G. see Dobroski, Bernard (The 1965 and 1973 Seminars on Comprehensive Musicianship: Their Relevance as a Foundation for Music in Higher Education)

Younker, Betty Anne see Pike, Pamela (Communicating Our Professional Value within the University)

Younker, Betty Anne President’s Forum: Continuing the Dialogue: Undergraduate Curriculum The President’s Forum will focus on the theme of the conference (Sustainability), Comprehensive Musicianship, and the conference version of the report, “Transforming Music Study from its Foundations: A Manifesto for Progressive Change in the Undergraduate Preparation of Music Majors” from the CMS Task Force on the Undergraduate Music Major. Using these two points of departure for conversation to occur, the following questions can be considered: • What has defined curriculum in Schools of Music, not just the content but how students are engaged? • What are the structures that organize the content? • Understanding how we live and learn, how does the structure reflect educative environments, if at all? • During the session, invited speakers will be asked to present a five minute perspective and then the community of CMS will be invited to dialogue.

Yun, Kristen Yeon-Ji see Park-Kim, Phoenix (Lesser Known Chamber Works by Two Influential Hoosiers, Ned Rorem & David N. Baker)

Zacharella, Alexandra One for All and All for One: The Commonalities of Brass Pedagogy Brass performers and pedagogues fundamentally deal with concepts of breathing, airflow, buzzing, embouchure formation, articulation, intonation, the overtone series, sound, musical concept and style. Brass techniques often parallel one another and brass performers have common theories and practices that surround brass teaching. This poster session will explore some universal "truths" about brass pedagogy. In addition the poster will delve into practical application of brass teaching tools and techniques for all brass performers, teachers and students.

Written examples complied from selected brass method books and well-known method book authors; Jean-Baptiste Arban’s Complete Method, Georg Kopprasch’s horn studies, Joannes Rochut’s Bordogni Vocalises, and William Bell’s tuba methods will be used to illustrate the fundamental concepts of brass technique and pedagogy on trumpet, horn, trombone, euphonium and tuba. The understanding and practical knowledge of fundamental brass techniques will provide insight into the application of brass teaching strategies for undergraduate studies. Whether the instrument is conical or cylindrical in design, brass performers share playing techniques and concepts that are both common and universal.

Zhong, Mei Introduction to the Vocal Repertoire of two Indianapolis Area Composers: Jody Nagel and Eleanor Trawick Two Indianapolis area composers have contributed significant musical works to the modern classical repertoire—Jody Nagel and Eleanor Trawick. Both composers are professors at Ball State University whose works are varied in scope and of high musical quality; they have been performed at conferences, new music concerts, and recitals throughout the United States. These works have been enjoyed and performed by faculty and students alike, and deserve to be presented to the public. Nagel’s vocal works include those for solo voice and piano as well as for voice and different instrumental ensembles. His opera, 53rd Street, is a portrayal of contemporary New York City. Trawick’s compositions include works for voice and various instruments, choral works, and chamber music pieces. Both composers often choose the writings of well-known poets for their texts. Although they both write contemporary art songs, each has a distinct compositional style. Nagel’s songs range from serious to quirky. His Four Songs for Seth is a set of gentle and beautiful songs based on words by Seth Wolitz and Ishikawa Takuboku, while his Six epitaphs on words by Cole Porter contains 6 continuous songs where each song is a comic epitaph. Trawick’s compositions are in a variety of styles: those for amateur and student performers are melodic and emphasize triadic harmonies, while those for professionals often employ contrapuntal devices and innovative musical forms. Her song cycle, Within My Garden, for voice, viola, and piano, is an example of the second type of work.

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