Exploring Western Art Music (MUGN-U268-002) Loyola University New Orleans College of Music and Fine Arts

Total Page:16

File Type:pdf, Size:1020Kb

Exploring Western Art Music (MUGN-U268-002) Loyola University New Orleans College of Music and Fine Arts Exploring Western Art Music (MUGN-U268-002) Loyola University New Orleans College of Music and Fine Arts Fall 2016 Tuesdays and Thursdays 3:30 – 4:45 p.m. Room CM135 Instructor Walter Harris, Jr., PhD Office: Music 133 Phone: 504-865-2146 Email: [email protected] Office Hours: For T or Th 10:00-12 noon. For MW or F, email instructor for appointment Bulletin Description This course focuses on developing active listening skills and understanding how music reflects the arts and ideas of its time. The course concentrates on music of the western art tradition between c. 800 CE and the present. There may also be opportunity to study jazz, non-western musics and/or popular music in the latter part of the semester. Prerequisites None Course Objectives This course is designed for the general student body and satisfies the arts requirement in the Common Curriculum. It is intended to help students develop a sense of timeline for development of western art music; a set of discriminating listening skills for many different forms of music, and an overall increased capacity to appreciate a variety of musical styles. Learning Outcomes Students who complete this course will be able to Identify general style periods List leading composers for each performance era Name at least three compositions for each style period upon hearing them Write critical performance reviews Identify major instrumental and vocal forms of music Identify all the instruments of the orchestra Textbooks and other materials Students are not required to purchase a textbook. Reading assignments will be posted on Blackboard Additional resources can be found in the following sources on reserve Loyola Monroe Library, or available for purchase from online sources: 1. The Encyclopedia of Music by Max Wade-Matthews and Wendy Thompson, Hermes House, Anness Publishing, Inc. 2. The NPR Listener’s Encyclopedia of Classical Music by Ted Libbey, Workman Publishing Recommended listening will be posted on Blackboard Course Expectations Students are expected to read all assignments and participate in class discussions. They are also expected to create a Concert Log by attending four concerts during the semester and writing a report of each performance. The reports should be at least two but not more than three pages in length in essay form and should include the date, place and time of performance, the name of the performer(s)/ensemble, titles of compositions, comments on each composition performed, and highlights of the performance. The comments could include information related to musical style, things you found enjoyable, things you found challenging, your overall impression, etc. An original copy of each program attended should be submitted along with the Concert Log. Students are also expected to create a Listening Log. Over the course of the semester, each student is to listen to at least three compositions for each style period studied in class and submit the Listening Log at the end of the semester. Examinations There will be four exams based upon class lectures and discussions, assigned readings, and listening assignments. The exams will take different forms, which may include multiple choice, true or false, fill in the blank, or essay. There will also be a number of quizzes both announced and unannounced. Grading and Evaluation Students are graded on four exams, quizzes, Concert Log, Listening Log and class participation. The combined effect of these grades, along with class attendance, will comprise the final grade. Academic Integrity All work you do for this class is expected to be your own, and academic dishonesty (including, but not limited to, plagiarism on papers, or cheating on exams) will be punished. A summary of the University’s definitions and procedures concerning academic integrity can be found in the online University Bulletin at (http://2009bulletin.loyno.edu/undergraduate/academic_regs/contents.php#integrity) Special Accommodations If you have a disability and wish to receive accommodations, please contact Disability Services at 504-865-2990, [email protected], or visit the Office of Disability Services in Marquette Hall 112. Please note that before any accommodations can be implemented, you must obtain an official Course Accommodation Record from Disability Services for my signature. Attendance Classes start and end on time. Attendance is required. If you are unable to attend class due to emergency or illness, please contact the instructor by phone or email. Since this class meets only twice per week, a student with more than three unexcused absences is in jeopardy of having the absences negatively impact the final grade. Excused absences for illness must be accompanied by a signed note from your doctor or the Student Health Center. Absences because of official university travel must have a note signed by the appropriate university official. Students are responsible for all information missed during absence. Except in extraordinary circumstances, quizzes, tests or in-class activities missed due to unexcused absences may not be made up. Evacuation Statements At times, ordinary university operations are interrupted as a result of tropical storms, hurricanes, or other emergencies that require evacuation or suspension of on-campus activities. To prepare for such emergencies, all students will do the following during the first week of classes: 1. Practice signing on for each course through Blackboard. 2. Provide regular and alternative e-mail address and phone and contact to each instructor. In the event of an interruption to our course due to the result of an emergency requiring an evacuation or suspension of campus activities, students will: 3. Pack textbooks, assignments, syllabi and any other needed materials for each course and bring during an evacuation/suspension 4. Keep up with course work during the evacuation/suspension as specified on course syllabi and online Blackboard courses. 5. Complete any reading and/or writing assignments given by professors before emergency began. Assuming a power source is available…. 6. Log on to university Web site within 48 hours of an evacuation/suspension. 7. Monitor the main university site (www.loyno.edu) for general information. 8. Log on to each course through Blackboard or e-mail within 48 hours of an evacuation/suspension to receive further information regarding contacting course instructors for assignments, etc. 9. Complete Blackboard and/or other online assignments posted by professors (students are required to turn in assignments on time during evacuation/suspension period and once university campus has reopened.) 10. Contact professors during an evacuation/suspension (or as soon as classes resume on campus) to explain any emergency circumstances that may have prevented them from completing expected work. Further information about student responsibilities in emergencies is available on the Academic Affairs web site: http://academicaffairs.loyno.edu/students-emergency-responsibilities. Cell Phones Please turn off cell phones, pagers, etc. and put them out of sight while in class. Schedule of Topics Week Session Topics 1 1 Tu Introduction to Class, Basic Vocabulary, Ways of Listening 8/23-8/25 2 Th Instruments of the Orchestra, Vocal Classifications 2 3 Tu Music in the Middle Ages 8/30-9/1 4 Th Middle Ages, Continued 3 5 Tu Music of the Renaissance 9/6-8 6 Th Renaissance, Continued 4 7 Tu Preparation for Exam on Middle Ages and Renaissance 9/13-15 8 Th Exam I 5 9 Tu Music of the Baroque 9/20-22 10 Th Baroque, Continued 6 11 Tu Music of the Classical Period 9/27-9/29 12 Th Classical Period, Continued 7 13 Tu Music of the Romantic Period 10/4-8 14 Th Romanticism, Continued and Exam Preparation 8 15 Tu Fall Break 10/11-13 16 Th Exam II 9 17 Tu Program Music, Nationalism 10/18-20 18 Th Verdi, Puccini 10 19 Tu Wagner 10/25-27 20 Th Brahms, Mahler 11 21 Tu Impressionism, Expressionism 11/1-3 22 Th Serialism 12 23 Tu Preparation for Exam 11/8-10 24 Th Exam III 13 25 Tu Twentieth Century Nationalism 11/15-17 26 Th Late Twentieth Century 14 27 Tu Late Twentieth Century 11/22-24 28 Th Thanksgiving Holiday 15 29 Tu Popular music Through the Ages 11/29-12/1 30 Th “ 16 12/6-8 31 Tu Musical Comedy, Blues, Ragtime, Dixieland 32 Th Exam Preparation 17 33 Th Exam IV 12/13 2:00 – 4:00pm .
Recommended publications
  • Teaching Guide: Area of Study 7
    Teaching guide: Area of study 7 – Art music since 1910 This resource is a teaching guide for Area of Study 7 (Art music since 1910) for our A-level Music specification (7272). Teachers and students will find explanations and examples of all the musical elements required for the Listening section of the examination, as well as examples for listening and composing activities and suggestions for further listening to aid responses to the essay questions. Glossary The list below includes terms found in the specification, arranged into musical elements, together with some examples. Melody Modes of limited transposition Messiaen’s melodic and harmonic language is based upon the seven modes of limited transposition. These scales divide the octave into different arrangements of semitones, tones and minor or major thirds which are unlike tonal scales, medieval modes (such as Dorian or Phrygian) or serial tone rows all of which can be transposed twelve times. They are distinctive in that they: • have varying numbers of pitches (Mode 1 contains six, Mode 2 has eight and Mode 7 has ten) • divide the octave in half (the augmented 4th being the point of symmetry - except in Mode 3) • can be transposed a limited number of times (Mode 1 has two, Mode 2 has three) Example: Quartet for the End of Time (movement 2) letter G to H (violin and ‘cello) Mode 3 Whole tone scale A scale where the notes are all one tone apart. Only two such scales exist: Shostakovich uses part of this scale in String Quartet No.8 (fig. 4 in the 1st mvt.) and Messiaen in the 6th movement of Quartet for the End of Time.
    [Show full text]
  • Glossary for Music the Glossary for Music Includes Terms Commonly Found in Music Education and for Performance Techniques
    Glossary for Music The glossary for Music includes terms commonly found in music education and for performance techniques. The intent of the glossary is to promote consistent terminology when creating curriculum and assessment documents as well as communicating with stakeholders. Ability: natural aptitude in specific skills and processes; what the student is apt to do, without formal instruction. Analog tools: category of musical instruments and tools that are non-digital (i.e., do not transfer sound in or convert sound into binary code), such as acoustic instruments, microphones, monitors, and speakers. Analyze: examine in detail the structure and context of the music. Arrangement: setting or adaptation of an existing musical composition Arranger: person who creates alternative settings or adaptations of existing music. Articulation: characteristic way in which musical tones are connected, separated, or accented; types of articulation include legato (smooth, connected tones) and staccato (short, detached tones). Artistic literacy: knowledge and understanding required to participate authentically in the arts Atonality: music in which no tonic or key center is apparent. Artistic Processes: Organizational principles of the 2014 National Core Standards for the Arts: Creating, Performing, Responding, and Connecting. Audiate: hear and comprehend sounds in one’s head (inner hearing), even when no sound is present. Audience etiquette: social behavior observed by those attending musical performances and which can vary depending upon the type of music performed. Benchmark: pre-established definition of an achievement level, designed to help measure student progress toward a goal or standard, expressed either in writing or as an example of scored student work (aka, anchor set).
    [Show full text]
  • Letter from the Education and Public Engagement Department
    Letter from the Education and Public Engagement Department A team of artists, art historians, educators, interns, librarians, and visitor relations staff comprise the award-winning Education and Public Engagement Department at The San Diego Museum of Art. We work with staff from within the Museum as well as with colleagues from cultural and educational institutions throughout the world to provide programs that enhance the exhibitions presented. Through lectures, tours, workshops, music, film, events for educators, and art-making programs for visitors of all ages, we invite you to inspire your creativity and to learn about art and its connection to your life. We hope you find yourself appreciating the wide array of art culture that is presented within the Museum and its encyclopedic collection. Whether you are new to art, or a long-time member who visits the Museum frequently, we invite you to bring your family, grandchildren, and friends, and to participate at The San Diego Museum of Art. We look forward to meeting you and hearing about any ideas you may have about the Museum and our programming efforts. We hope to see you often! The Education and Public Engagement Department The San Diego Museum of Art SDMArt.org Young visitors are participating in a Museum camp program. THE SAN DIEGO MUSEUM OF ART Learning through the Museum The San Diego Museum of Art first opened its doors on February 28, 1926, as the Fine Arts Gallery of San Diego, and since that time has been building an internationally renowned permanent collection that includes European, North American, Modern Mexican, Asian, Islamic and contemporary art.
    [Show full text]
  • Department of Art, Music, and Theatre
    Department of Art, Music, and Theatre Professors: Michelle Graveline, Rev. Donat Lamothe, A.A. (emeritus); Associate Professors: Carrie Nixon, Toby Norris (Chair); Assistant Professors: Scott Glushien; Visiting Assistant Professors: Peter Clemente, Lynn Simmons; Instructors, Lecturers: Jonathan Bezdegian, Elissa Chase, Bruce Hopkins, Susan Hong-Sammons, Jon Krasner, Gary Orlinsky, Michele Italiano Perla, Joseph Ray, Peter Sulski, Margaret Tartaglia, Tyler Vance. MISSION STATEMENT The department aims to give students an understanding of the importance of rigorous practical and intellectual formation in stimulating creative thought and achieving creative expression. We also strive to help students appreciate Art, Music and Theatre as significant dimensions of the human experience. Studying the history of the arts brings home the central role that they have played in the development of human thought, both within and outside the Judeo-Christian tradition. Practicing the arts encourages students to incorporate creative expression into their wider intellectual and personal development. In forming the human being more completely, the department fulfills a fundamental goal of Catholic education. MAJORS IN THE DEPARTMENT MAJOR IN MUSIC (11) The major in Music covers the areas of Music Theory, Music History, and Performance with the opportunity for development of individual performance skills. Studies develop musicianship, competency in the principles and procedures that lead to an intellectual grasp of the art, and the ability to perform. The major in Music consists of 11 courses: MUS 122 History of Music I MUS 124 History of Music II MUS 201 Music Theory I MUS 301 Music Theory II MUS 330 Conducting MUS 193 Chorale or MUS 195 Band or MUS 196 Jazz Ensemble or MUS 197 String Camerata (six semesters at 1 credit per semester, equivalent to two 3-credit classes) Four additional courses from among program offerings (not to include MUS 101 Fundamentals of Music).
    [Show full text]
  • What Classical Music Is (Not the Final Text, but a Riff on What
    Rebirth: The Future of Classical Music Greg Sandow Chapter 4 – What Classical Music Is (not the final text, but a riff on what this chapter will say) In this chapter, I’ll try to define classical music. But why? Don’t we know what it is? Yes and no. We’re not going to confuse classical music with other kinds of music, with rock, let’s say, or jazz. But can we say how we make these distinctions? You’d think we could. And yet when we look at definitions of classical music—either formal ones, in dictionaries, or informal ones, that we’d deduce by looking around at the classical music world—we run into trouble. As we’ll see, these definitions imply that classical music is mostly old music (and, beyond that, old music only of a certain kind). And they’re full of unstated assumptions about classical music’s value. These assumptions, working in the background of our thoughts, make it hard to understand what classical music really is. We have to fight off ideas about how much better it might be than other kinds of music, ideas which—to people not involved with classical music, the very people we need to recruit for our future audience—can make classical music seem intimidating, pompous, unconvincing. And so here’s a paradox. When we expose these assumptions, when we develop a factual, value-free definition of classical music, only then can we find classical music’s real value, and convincingly set out reasons why it should survive. [2] Let’s start with common-sense definition of classical music, the one we all use, without much thought, when we say we know what classical music is when we hear it.
    [Show full text]
  • The Decline of Improvisation in Western Art Music
    The Decline of Improvisation in Western Art Music: An Interpretation of Change Author(s): Robin Moore Source: International Review of the Aesthetics and Sociology of Music, Vol. 23, No. 1, (Jun., 1992), pp. 61-84 Published by: Croatian Musicological Society Stable URL: http://www.jstor.org/stable/836956 Accessed: 23/07/2008 16:04 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=croat. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org R. MOORE,THE DECLINEOF IMPROVISATION...,IRASM 23 (1992)1, 61-84 61 THE DECLINEOF IMPROVISATIONIN WESTERNART MUSIC: AN INTERPRETATIONOF CHANGE ROBINMOORE UDC: 781.65 OriginalScientific Paper University of Texas, Izvorniznanstveni rad AUSTIN, Texas, USA Received:March 28, 1992 Primljeno:28.
    [Show full text]
  • Introduction to Art Music MUS 140.001 Summer 1 2014
    Introduction to Art Music MUS 140.001 Summer 1 2014 INSTRUCTOR: Dr. Scott LaGraff OFFICE: Music 280 E-MAIL: [email protected] OFFICE HOURS: By appt. PHONE: 468-4206 TIME: MTWR 12:30-2:25 SFA School of Music LOCATION: Music 153 Wright Music Building COURSE DESCRIPTION: For non-music majors or minors only, focusing on listening, understanding, and appreciating music literature of the Western and American musical heritage. REQUIRED TEXT: Kamien, Roger. Music: An Appreciation. Eighth Brief Edition (with CONNECT digital content). Boston: McGraw-Hill, 2015. (available at Barnes & Noble in Student Center) NOTE: This text includes a code for digital materials required for the course. Additional CDs need not be purchased. I will post links to any additional required music. GRADING: SCALE: Exams 40% 100 – 90 (A) 89 – 80 (B) LearnSmart/Quizzes 40% 79 – 70 (C) 69 – 60 (D) Concert Report 10% 59 – 0 (F) ATTENDANCE: The official University policy is that students are expected to attend all of their scheduled University classes. Students will, however, be excused from classes for university events and other causes at the discretion of the instructor, provided that they supply appropriate documentation. Each student will be allowed ONE unexcused absence; final grades will be reduced by two points for each subsequent unexcused absence. However, three points will be added to the final grade for perfect attendance! Students who are not present when attendance is taken will be marked absent. Exams missed during unexcused absences will not be made up. Exams missed during excused absences will be made up at the instructor’s supervision.
    [Show full text]
  • Western Art Music
    Western Australian Certificate of Education ATAR course examination, 2016 Question/Answer booklet MUSIC: Please place your student identification label in this box WESTERN ART MUSIC Student number: In figures In words Time allowed for this paper Reading time before commencing work: ten minutes Working time : two and a half hours Materials required/recommended for this paper To be provided by the supervisor Number of additional This Question/Answer booklet answer booklets used (if applicable): Score booklet Personal listening device (PLD) PLD number Headphones To be provided by the candidate Standard items: pens (blue/black preferred), pencils (including coloured), sharpener, correction fluid/tape, eraser, ruler, highlighters Special items: nil Important note to candidates No other items may be taken into the examination room. It is your responsibility to ensure that you do not have any unauthorised material. If you have any unauthorised material with you, hand it to the supervisor before reading any further. Copyright © School Curriculum and Standards Authority 2016 Ref: 16-062 WESTERN ART MUSIC 2 Structure of the examination The Music ATAR course examination consists of a written component and a practical (performance and/or composition portfolio) component. Structure of this paper Suggested Number of Number of Percentage working Marks Section questions questions to of written time available available be answered examination (minutes) Section One 6 6 50 57 36 Aural and analysis Section Two Cultural and historical analysis Part A: Analysis 1 1 20 11 Part B: Short response 55 (i) Compulsory area of study 1 1 26 11 (ii) Non-compulsory area of study 1 1 16 12 Section Three 3 3 45 51 30 Theory and composition Total 100 Instructions to candidates 1.
    [Show full text]
  • Modern Art Music Terms
    Modern Art Music Terms Aria: A lyrical type of singing with a steady beat, accompanied by orchestra; a songful monologue or duet in an opera or other dramatic vocal work. Atonality: In modern music, the absence (intentional avoidance) of a tonal center. Avant Garde: (French for "at the forefront") Modern music that is on the cutting edge of innovation.. Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Form: The musical design or shape of a movement or complete work. Expressionism: A style in modern painting and music that projects the inner fear or turmoil of the artist, using abrasive colors/sounds and distortions (begun in music by Schoenberg, Webern and Berg). Impressionism: A term borrowed from 19th-century French art (Claude Monet) to loosely describe early 20th- century French music that focuses on blurred atmosphere and suggestion. Debussy "Nuages" from Trois Nocturnes (1899) Indeterminacy: (also called "Chance Music") A generic term applied to any situation where the performer is given freedom from a composer's notational prescription (when some aspect of the piece is left to chance or the choices of the performer). Metric Modulation: A technique used by Elliott Carter and others to precisely change tempo by using a note value in the original tempo as a metrical time-pivot into the new tempo. Carter String Quartet No. 5 (1995) Minimalism: An avant garde compositional approach that reiterates and slowly transforms small musical motives to create expansive and mesmerizing works. Glass Glassworks (1982); other minimalist composers are Steve Reich and John Adams. Neo-Classicism: Modern music that uses Classic gestures or forms (such as Theme and Variation Form, Rondo Form, Sonata Form, etc.) but still has modern harmonies and instrumentation.
    [Show full text]
  • Why Concert Music Is Wonderful: Three Ways to Approach Western Art Music Conrad Winslow Rollins College, [email protected]
    Rollins Undergraduate Research Journal Volume 2 Article 12 Issue 1 RURJ Spring 2010 4-1-2007 Why Concert Music is Wonderful: Three Ways to Approach Western Art Music Conrad Winslow Rollins College, [email protected] Follow this and additional works at: http://scholarship.rollins.edu/rurj Recommended Citation Winslow, Conrad (2010) "Why Concert Music is Wonderful: Three Ways to Approach Western Art Music," Rollins Undergraduate Research Journal: Vol. 2: Iss. 1, Article 12. Available at: http://scholarship.rollins.edu/rurj/vol2/iss1/12 This Article is brought to you for free and open access by Rollins Scholarship Online. It has been accepted for inclusion in Rollins Undergraduate Research Journal by an authorized administrator of Rollins Scholarship Online. For more information, please contact [email protected]. Winslow: Why Concert Music is Wonderful Why Concert Music is Wonderful: Three Ways to Approach Western Art Music Conrad Winslow A Senior Honors Project Submitted in Partial Fulfillment of Requirements of the Honors Degree Program May, 2007 Faculty Sponsor: Dr. Daniel Crozier Rollins College Winter Park, Florida Published by Rollins Scholarship Online, 2010 1 Rollins Undergraduate Research Journal, Vol. 2 [2010], Iss. 1, Art. 12 To Pop-pop Andrews Copyright © 2007 by Conrad Winslow All rights reserved http://scholarship.rollins.edu/rurj/vol2/iss1/12 2 Winslow: Why Concert Music is Wonderful Table of Contents Introduction........................................................................4 Kinetic Listening................................................................
    [Show full text]
  • Download File
    Noise, Sound and Objecthood: The Politics of Representation in the Musical Avant-Garde Alexander Hall Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 © 2016 Alexander Hall All Rights Reserved ABSTRACT Noise, Sound and Objecthood: The Politics of Representation in the Musical Avant-Garde Alexander Hall This essay offers both a historical analysis of twentieth century avant-garde practices relating to representation in music, and a prescriptive model for contemporary methods of composition. I address the taxonomy problem in classical music, clarifying the ontological divide identified by German musicologist Michael Rebhahn Contemporary Classical music and New Music. I demonstrate how neoliberalism has developed a Global Style (Foster 2012) of "Light Modernity,” evident in both contemporary architecture and music alike. The central problem facing composition today is the fetishization of materials, ultimately derived from music's refusal to allow the question of representation to be addressed. I argue that composers have largely sought to define noise as sound-in-itself, eliminating the possibilities of representation in the process. Proposing instead that composers should strive to tackle representation head-on in the 21st century, I show how Jacques Rancière provides a model in which noise and sound—representation and abstraction—function in a conjoined, yet non-homogenized aesthetic regime. Governed by what he calls the "pensiveness of the image,” it allows for a renewed art form that rejects repetition and neoliberalism, re-connecting to the spirit of the avant-garde without slavishly echoing either its outmoded aesthetics or dogmatic philosophies.
    [Show full text]
  • New Perspectives on Classical Music Through the Work of Mark Oâ
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2005 Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck Louanne Marie Iannaccone University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Music Commons Recommended Citation Iannaccone, Louanne Marie, "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck. " Master's Thesis, University of Tennessee, 2005. https://trace.tennessee.edu/utk_gradthes/2014 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Louanne Marie Iannaccone entitled "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Dr. Leslie C. Gay, Jr., Major Professor We have read this thesis and recommend its acceptance: Dr. Wesley Baldwin, Dr. Rachel Golden Carlson Accepted for the Council: Carolyn R.
    [Show full text]