DOCSLIB.ORG

Proceedings, the 75Th Annual Meeting, 1999

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Proceedings, the 75Th Annual Meeting, 1999 PROCEEDINGS The 75th Annual Meeting 1999 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC NUMBER 88 JUNE 2000 PROCEEDINGS The 75th Annual Meeting 1999 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC © 2000 by the National Association of Schools of Music. All rights reserved including the right to reproduce this book or parts thereof in any form. ISSN 0190-6615 National Association of Schools of Music 11250 Roger Bacon Drive, Suite 21 Reston, Virginia 20190 Tel. (703) 437-0700 Web address: www.arts-accredit.org E-mail: [email protected] CONTENTS Preface ............................. vii Keynote Speech Music, Musicians, and the Art of Listening: Seven Truths About Music in 2000 IJbby Larsen 1 Career Preparation: Moving into the American Marketplace with die Bachelor of Music in Performance Innovation and New Thoughts about Performance Training for the Future Peter J. Schoenbach 6 Responahility-Based Management Responsibility-Centered Budgeting David D. Woods 12 Music Study in the Liberal Arts Setting How Can NASM Better Serve the Liberal Arts College? John F. Strauss 23 The Struggle To Meet the Professional Standards of NASM and Maintain Integrity as a Department in a Liberal Arts Institution Trudy Faber 27 A Liberal Arts Imperative for the Music Professions Linda C. Ferguson 32 Liberal Arts and Professional Music Study: Coexistence or Cooperation? James Woodward 37 The Future of Muacology and Ethnomusicology The Future of Ethnomusicology in the School and Department of Music of the Twenty-First Century Philip V. Bohlman 40 New Directions in Musicology and What They Mean Michael Broyles 47 Changing Faces of Musicology Denise von Glahn 51 The Future of Music Theory Music Cognition Research and the Music Theory Program David Butler 56 Restoring Music Practice to Music Theory Kevin Holm-Hudson 62 Music Theory Research and Curricula: Past, Present, and Future Elizabeth W. Marvin 67 Preparing for Freshman Theory throi^ Distance Learning Toward Establishing a National Prerequisite for Freshmen in Music Theory: An Interactive Web Site Tutorial Pamela L Poulin 77 Faculty Retention and Development: Administering for Success When You Call Them, Do they Come? Leadership and Participation in Schools of Music Patrick D. McDonough 82 Taping Potential: Inspired Flow Karen Bauer 90 New Dimensions: Graduate Programs New Concepts and Formats for Graduate Diagnostic Examinations Paul Boylan, James Scott, and Robert Sirota 94 Meeting of Region One Innovative Solutions in a Climate of Budget Constraints Terry B. Ewell 109 Meeting of Region Six Trends in B.A. Enrollments Richard D. Green 115 What Is the Role of the Bachelor of Arts Degree for the Future? A Present Case Study: Lebanon Valley College Mark Mecham 120 A Survey of NASM Region Six Members Regarding the Status and Future of the Bachelor of Arts Degree in Music Ronald Lee 125 Open Forum: The Preparation of School String Orchestra Teachers Standards—What Was? Robert Cowden 133 Standards—What Is? Robert A. Gillespie 137 Standards—What Can Be? Louis Bergonzi 139 String Project Grants Robert Cowden 141 The Plenary Sessions Minutes of the Plenary Sessions Jo Ann Domb 144 Greetings from the Association of European Conservatoires Ian Horsbrugh 149 Report of the President William Hipp 152 Report of the Executive Director Samuel Hope 158 Oral Report of the Executive Director Samuel Hope 162 Reports of the Regions 165 Report of the Committee on Ethics Wayne Bailey 170 Actiom of the Accrediting Conunissions 171 NASM OfBcers, Board, Commissions, Committer, and Staff for 2000 174 PREFACE The Seventy-Fifth Annual Meeting of the National Association of Schools of Music was held from November 20 to 23, 1999, at the Fairmont Hotel in Chicago, Illinois. This volume is a partial record of various papers delivered at that meeting, as well as the official record of reports given and business transacted during two plenary sessions. Papers published herein have been lightly edited for certain stylistic consis- tencies but otherwise appear largely as the authors presented them at the meeting. Vll KEYNOTE SPEECH MUSIC, MUSICIANS, AND THE ART OF LISTENING: SEVEN TRUTHS ABOUT MUSIC IN 2000 LIBBY LARSEN I am particularly delighted to be with you today because I am both a composer of twenty-five years and a product of the seventy-five years of vision and work of the National Association of Schools of Music's approach to music education. My formal music education came through parochial grade school and public high school (Southwest High School in Miimeapolis, Minnesota) and at the University of Minnesota, a land-grant university, where I earned my B.A., M.A., and Ph.D. I am a composer. And, as a composer, I have learned that I work from inspiration and idea and that I must hone all the techniques 1 can possibly muster, so that those techniques can be in service of inspiration and idea. I Usten proactively. 1 listen to the culture. I listen to those who would be professional musicians in the culture and to those who would be ardent listeners to the music that we compose. With this in mind, I think that 1 have some insights that I can share with you today. Insights about music: how music treats us in our lives, and how we treat music in our lives. It is my personal belief that to compose music is to learn all of the various instruments of a culture and what they represent emotionally, culturally, and psychologically. Because my instrument is really the air, 1 use aU of the instru- ments of our culture in order to excite the air in ways that stimulate conununication in a deeply emotional and abstract nonlinear way. I believe that to compose music is to gather what is already in the air, make an arrangement of it by ordering sound in time and space, and present this music mediated through performers who also are products of this culture in an effort to communicate something of what it is to be alive. I also believe that cultures evolve the instruments and the ensembles they need in order to smdy themselves through music. 1 beheve that music is the mystical practice of making sense of infinity. You know composers are notorious for pushing their deadlines. Sometimes we wait until literally the last minute to put the double bar on a piece of music and deliver it to the commissioning party. This drives performers and music administrators to the brink. However, deadline pressure is a topic that we creative artists talk about amongst ourselves quite often. I've come to think that one of the reasons we need deadlines as creative artists is that, in fact, when we are trying to make a work of art where there hasn't heen one, we have to imagine the kinds of choices that need to be made. And for me, I believe that sound is infinite, and since I believe that, any time I make a choice I am trying to make some sense of infinity—some reason for creating a piece about the emotion of love or fear, some way of distilling those emotions into the symbols of a note that has pitch, duration, dynamic. Composing is a terribly, terribly abstract art form. And yet any composer will tell you that a piece that is well composed and conununicates deeply is their reason for being, their reason for life. That journey of seeking a way in which to communicate through sound, pitch, time, and duration is their raison d'Stre. The results of the journey, which we call a piece of music, are firagile at best and corrununicative at its deepest. And if we are very fortunate and work very hard, that ordering of sound in time and space has meaning across the ages, across the cultures, and across time. In the nearly thirty years that I have been thinking seriously about music every day of my life, I have come to think that music is the most generous of aU the art forms. It encourages itself to he used in any way, in any individual community, or in any business endeavor. But, while music will allow itself to be used, it wiU always, without fail, let us know when we have misused it, contrived it, or assumed the egotistical position of owning it. Yes, music is the most generous of all the arts. It is a true muse and, like any true muse, it is impossible to own. Instead, when definition, methodology, and commerce overburden music, it frees itself, redefines itself and, with arresting audacity, stands squarely in the way of those who would own it. We composers are acutely aware of this since we deal with music's audacity in every composition. Time and again we set out meaning to compose one work only to discover that music has other ideas for the piece. Those of us who love music history have observed music's audacity and independence at work in western European culture at critical junctures in society. It may be that now, at the end of this miUeniiun and the beginning of the next, we are at a critical juncture in society. Perhaps it is American society, perhaps it is a global society, but it does appear to be a critical juncture. And at this moment music is audacious and definitely independent. Also at this moment we music educators face our moments of truth—the moment when our definition of music and the meaning of our lives as musicians are spread out before us with blinding clarity. When we can see beyond the paradox, we are faced with a choice—the choice to listen. Do we listen? To what do we listen? How do we hsten—reactively or proactively? Listening, as we all know, is a complex affair.
Load more

Recommended publications
  • May 2021 Newsletter
    Name This Newsletter See details on page 4 WLOV Newsletter for May 2021 www.writersleagueofthevillages.com Who lived here? (Page 12) Above, WLOV’s Barnes and Noble kick-off on April 10. See more starting on pages 6. Scary Musings Event (Page 4) Wine and Words (Page 10) The Nation’s Greatest Songwriter (Page 16) …and so much more. Scoll down for the T of C. 1 Table of Contents for May 2021 Page → → Click on any item to go right to that item. Message from Your Newsletter Editor 2-3 Upcoming Events 3 Scary Musings Event - Call for Submissions 4 Name This Newsletter Contest 4 Message from Your President 5 July Beach Book Bonanza 6 WLOV Authors in Barnes & Noble – Books & Pictures 6-8 Writing-Related News 9-11 Mark Newhouse speaks at Holocaust Remembrance Day WLOV Authors at All Booked Up The Wine and Words Club The Villages Songwriting Club Print News Items about WLOV Members Remembering Brenda Shea 11 Which Famous Author Lived Here? 12 Recurring Items of Interest 13 Great Courses Videos Pay 2021 Dues Online WLOV Book Catalogue New WLOV Business Cards Writers of the Villages Group on Facebook Village Neighbors Magazine Cartoons 14-15 Appendix: Songwriting and Irving Berlin 16-17 *** Message From Your Newsletter Editor By Larry Martin [email protected] August 11th! We are getting closer to a live meeting, currently planned for August 11th, at Laurel Manor. Meanwhile, we’ve been busy with Zoom and a couple of local ‘get togethers’ at Barnes & Noble in Lake Sumter Landing. In the coming months it’s likely all critique groups will be meeting live.
    [Show full text]
  • General Info.Indd
    General Information • Landmarks Beyond the obvious crowd-pleasers, New York City landmarks Guggenheim (Map 17) is one of New York’s most unique are super-subjective. One person’s favorite cobblestoned and distinctive buildings (apparently there’s some art alley is some developer’s idea of prime real estate. Bits of old inside, too). The Cathedral of St. John the Divine (Map New York disappear to differing amounts of fanfare and 18) has a very medieval vibe and is the world’s largest make room for whatever it is we’ll be romanticizing in the unfinished cathedral—a much cooler destination than the future. Ain’t that the circle of life? The landmarks discussed eternally crowded St. Patrick’s Cathedral (Map 12). are highly idiosyncratic choices, and this list is by no means complete or even logical, but we’ve included an array of places, from world famous to little known, all worth visiting. Great Public Buildings Once upon a time, the city felt that public buildings should inspire civic pride through great architecture. Coolest Skyscrapers Head downtown to view City Hall (Map 3) (1812), Most visitors to New York go to the top of the Empire State Tweed Courthouse (Map 3) (1881), Jefferson Market Building (Map 9), but it’s far more familiar to New Yorkers Courthouse (Map 5) (1877—now a library), the Municipal from afar—as a directional guide, or as a tip-off to obscure Building (Map 3) (1914), and a host of other court- holidays (orange & white means it’s time to celebrate houses built in the early 20th century.
    [Show full text]
  • Harmonizing Notes Outside the Prevailing Harmony
    Krumbholz, Theory IV Harmonizing Melody Notes Outside the Prevailing Harmony. 1 More than one solution may work with a particular “nonchord” note. Experiment with different harmonizations. Note: several of the chords below may be enharmonically spelled, for ease of reading (for the performer). Use a seventh chord whose root lies a P5 above/below the prevailing harmony: Use a barbershop seventh chord (BS 7) whose root is a m2 below/above the prevailing harmony. Works especially well when the prevailing harmony is a BS 7. Use a BS 7 chord whose root lies a M3 below the prevailing chord: 1 Based on handouts from Burt Szabo and Dave Stevens. Krumbholz, Harmonizing Nonchord tones, p. 2 Use a BS 7 chord that lies a tritone away (“across the clock”) from the prevailing harmony. Use a chord that has the same root as the prevailing harmony • The added 9 th chord, major triads only (I or IV chord only) • The incomplete (or barbershop) 9 th chord; use when the prevailing harmony is a BS 7 chord. • The barbershop (or “substitute”) 6th chord; use when the prevailing harmony is a triad (I or IV chord only). • The barbershop (or “substitute”) 13 th chord; use when the prevailing harmony is a BS 7 chord. Krumbholz, Harmonizing Nonchord tones, p. 3 Use a diminished chord with the same root as the prevailing chord. Works especially well when the prevailing harmony is a BS 7 chord. When a “nonchord tone” falls between two harmonies (such as, say, the last note of a measure), the note will be easier to harmonize if you use the above approaches as applied to the upcoming chord rather than the current one.
    [Show full text]
  • Proceedings, the 50Th Annual Meeting, 1974
    proceedings of tl^e ai^i^iVepsapy EQeetiiig national association of schools of music NUMBER 63 MARCH 1975 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC PROCEEDINGS OF THE 50 th ANNIVERSARY MEETING HOUSTON, TEXAS 1974 Published by the National Association of Schools of Music 11250 Roger Bacon Drive, No. 5 Reston, Virginia 22090 LIBRARY OF CONGRESS CATALOGUE NUMBER 58-38291 COPYRIGHT ® 1975 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC 11250 ROGER BACON DRIVE, NO. 5, RESTON, VA. 22090 All rights reserved including the right to reproduce this book or parts thereof in any form. CONTENTS Officers of the Association 1975 iv Commissions 1 National Office 1 Photographs 2-8 Minutes of the Plenary Sessions 9-18 Report of the Community/Junior College Commission Nelson Adams 18 Report of the Commission on Undergraduate Studies J. Dayton Smith 19-20 Report of the Commission on Graduate Studies Himie Voxman 21 Composite List of Institutions Approved November 1974 .... 22 Report of the Library Committee Michael Winesanker 23-24 Report of the Vice President Warner Imig 25-29 Report of the President Everett Timm 30-32 Regional Meeting Reports 32-36 Addresses to the General Session Welcoming Address Vance Brand 37-41 "Some Free Advice to Students and Teachers" Paul Hume 42-46 "Teaching in Hard Times" Kenneth Eble 47-56 "The Arts and the Campus" WillardL. Boyd 57-62 Papers Presented at Regional Meetings "Esthetic Education: Dialogue about the Musical Experience" Robert M. Trotter 63-65 "Aflfirmative Action Today" Norma F. Schneider 66-71 "Affirmative Action" Kenneth
    [Show full text]
  • College.MAG.Fall.03.F Copy
    Fall/September 2004 A Setting for Synergy Undergraduate education at USC College encourages students to pursue an education that is rich in experience, both inside and outside of the class- room. The curriculum is structured to provide a coherent, integrated intro- duction to the breadth of knowledge that a “well-educated person” needs. With nearly 80 majors and 50 minors in the College to choose from, the environment helps students discover their passions and talents. The College’s Faculty Recruitment Initiative has improved the student-to- faculty ratio and diversified the faculty, exposing students to cutting-edge researchers and multidisciplinary scholars. Faculty are personable, approachable teachers who help stu- dents understand the terms ‘rigor’ and ‘critical thinking.’ In the 1990s, USC faculty and lead- ers worked for three years on a plan to completely revamp the undergraduate curriculum as part of a blueprint to Beyond Book Smart: International Relations Major Rivka Katz (VP of Hillel’s SC Tzedek and alternative spring break coordinator); Bac/MD move the university into a position of Program Participant Chad Agy; and Psychology Major Patricia Gonzalez (Readers Plus tutor and notetaker for disability services and programs) leadership. The result was a more coherent and integrated curriculum in the College for every USC undergrad- Undergrads Embrace Variety and Richness uate. Whether they are majoring in business, journalism or biology, all USC undergraduates take a core set of courses taught by full-time, tenure- had Agy matriculated into the freshman class of 2008 at USC College admittance into the Bac/MD program track faculty. this fall. He was the captain of his high school soccer team, concertmas- made all the difference.
    [Show full text]
  • Hummi-Com: Humming-Based Music Composition System
    Hummi-Com: Humming-based Music Composition System Tetsuro Kitahara, Syohei Kimura, Yuu Suzuki, and Tomofumi Suzuki College of Humanities and Science, Nihon University 3-25-40, Sakurajosui, Setagaya-ku, Tokyo 156-8550, Japan [email protected] ABSTRACT designed from music theory to avoid musically inappropriate In this paper, we propose a composition-by-humming sys- melodies. tem, called Hummi-Com, that automatically corrects musi- cally inappropriate notes. Although various systems with a 2. ISSUES AND KEY CONCEPT composition-by-humming function have been developed, it is Because our system targets musically unskilled people difficult in practice for non-musicians to compose musically such as those who do not play an instrument, we assume appropriate melodies with these systems due to the target that the audio signals hummed by users contain notes with user's insufficient skill at controlling pitch. In this paper, incorrect pitches because such users are expected to have a we propose note correction rules for avoiding such musically relatively low pitch control skill when humming. When such inappropriate outputs. This rule set is designed based on users try to hum an original melody, the following phenom- the idea of searching for a reasonable trade-off between re- ena often occur: moving dissonant nonchord tones and retaining musically acceptable nonchord tones. 1. The boundaries between notes tend to be unclear be- cause the pitch is unstable. Categories and Subject Descriptors 2. The pitch cannot be correctly converted to a discrete note scale because the pitch tends to be ambiguous H.5,5 [Information Interfaces and Interaction]: Sound (e.g., between C and C]).
    [Show full text]
  • Absolute Pitch (AP)
    Absolute Pitch (AP) • A.k.a. ‘perfect pitch’ • The ability to name or produce a tone without a reference tone • Very rare: 1 in 10,000 Vs. Relative pitch (RP) • Most people use relative pitch: • Recognizing tones relative to other tones • Remember and produce intervals abstracted from specific pitch, or given a reference pitch AP: how it works • Thought to be a labeling process: – AP possessors associate names/ meaning with pitches or pitch classes – Retain this association over time • AP is not ‘perfect’; i.e., auditory perception/ pitch discrimination not more accurate than RP Imaging evidence • When making judgments using AP: • possessors compared to non- possessors show more activation in frontal naming/labeling areas • Anatomically, AP possessors show greater planum temporale asymmetry – Apparently due to reduced RH PT size AP ‘flavors’ • AP not purely ‘have’ or ‘have-not; ability level varies along continuum • Some possessors make more accurate judgments with certain instruments – e.g. piano vs. pure sine wave tones – Sometimes called ‘absolute piano’ AP ‘flavors’ cont’d • Other possessors may perform more accurately with white-key notes than black-key notes – E.g. C,D,E vs. C#, D# • May be due to early learning influence – Early musical training on keyboard usually starts with white-key notes only • So, is AP learned? Learnable? Nature vs. Nurture, of course • The debate continues: – Some researchers ascribe genetic origins to AP, suspecting that early musical training is neither sufficient nor necessary – Others find most possessors
    [Show full text]
  • Classical Net Review
    The Internet's Premier Classical Music Source BOOK REVIEW The Psychology of Music Diana Deutsch, editor Academic Press, Third Edition, 2013, pp xvii + 765 ISBN-10: 012381460X ISBN-13: 978-0123814609 The psychology of music was first explored in detail in modern times in a book of that name by Carl E. Seashore… Psychology Of Music was published in 1919. Dover's paperback edition of almost 450 pages (ISBN- 10: 0486218511; ISBN-13: 978-0486218519) is still in print from half a century later (1967) and remains a good starting point for those wishing to understand the relationship between our minds and music, chiefly as a series of physical processes. From the last quarter of the twentieth century onwards much research and many theories have changed the models we have of the mind when listening to or playing music. Changes in music itself, of course, have dictated that the nature of human interaction with it has grown. Unsurprisingly, books covering the subject have proliferated too. These range from examinations of how memory affects our experience of music through various forms of mental disabilities, therapies and deviations from "standard" auditory reception, to attempts to explain music appreciation psychologically. Donald Hodges' and David Conrad Sebald's Music in the Human Experience: An Introduction to Music Psychology (ISBN-10: 0415881862; ISBN-13: 978- 0415881869) makes a good introduction to the subject; while Aniruddh Patel's Music, Language, and the Brain (ISBN-10: 0199755302; ISBN-13: 978-0199755301) is a good (and now classic/reference) overview. Oliver Sacks' Musicophilia: Tales of Music and the Brain (ISBN-10: 1400033535; ISBN-13: 978-1400033539) examines specific areas from a clinical perspective.
    [Show full text]
  • 02-11-Nonchordtones.Pdf
    LearnMusicTheory.net 2.11 Nonchord Tones Nonchord tones = notes that aren't part of the chord. Nonchord tones always embellish/decorate chord tones. Keep in mind that many authors use the term "consonance" for a chord tone, and "dissonance" for a nonchord tone. suspension (S) = "delayed step down" passing tone (PT) neighbor tone (NT) 1. Starts as chord tone, then becomes... PTs are approached and NTs are approached and 2. Nonchord tone metrically accented, left by step in the left by step in different 3. ...then resolves down by step same direction. directions. Common types: 7-6, 4-3, 9-8, 2-3 Preparation Suspension Resolution C:IV6 I escape tone (esc.) retardation (R) -"step-leap" 1. Starts as chord tone, then becomes... appoggiatura (app.) -"leap-step" -to escape, you "step to window, 2. Nonchord tone metrically accented leap out" 3. ...then resolves up by step -may be metrically accented or unaccented -may be metrically accented or unaccented "DELAYED STEP UP" -sometimes called "incomplete neighbor tone" -also sometimes called "incomplete Preparation Retardation Resolution neighbor tone" vii°6 I anticipation (ant.) cambiata (c) -- LESS COMMON -approached by leap or step -also called "changing tone" from either direction -connect 2 consonances a 3rd apart -unaccented (i.e. C-A in this example) neighbor group (n gr.) -must be a chord tone in the -only the 2nd note of the pattern is -upper and lower neighbor together next harmony a dissonance -can also be lower neighbor -may or may not be tied into -specific pattern shown below followed by upper neighbor the resolution note -common in 15th and 16th centuries vii°6 I pedal point or pedal tone (bottom C in left hand) from Bach, WTC, Fugue I in C, m.
    [Show full text]
  • Convergent Evolution in a Large Cross-Cultural Database of Musical Scales
    Convergent evolution in a large cross-cultural database of musical scales John M. McBride1,* and Tsvi Tlusty1,2,* 1Center for Soft and Living Matter, Institute for Basic Science, Ulsan 44919, South Korea 2Departments of Physics and Chemistry, Ulsan National Institute of Science and Technology, Ulsan 44919, South Korea *[email protected], [email protected] August 3, 2021 Abstract We begin by clarifying some key terms and ideas. We first define a scale as a sequence of notes (Figure 1A). Scales, sets of discrete pitches used to generate Notes are pitch categories described by a single pitch, melodies, are thought to be one of the most uni- although in practice pitch is variable so a better descrip- versal features of music. Despite this, we know tion is that notes are regions of semi-stable pitch centered relatively little about how cross-cultural diversity, around a representative (e.g., mean, meadian) frequency or how scales have evolved. We remedy this, in [10]. Thus, a scale can also be thought of as a sequence of part, we assemble a cross-cultural database of em- mean frequencies of pitch categories. However, humans pirical scale data, collected over the past century process relative frequency much better than absolute fre- by various ethnomusicologists. We provide sta- quency, such that a scale is better described by the fre- tistical analyses to highlight that certain intervals quency of notes relative to some standard; this is typically (e.g., the octave) are used frequently across cul- taken to be the first note of the scale, which is called the tures.
    [Show full text]
  • How One Voice Can Change the World the Geffen Playhouse 2014-2015 Season a Co-World Premiere and Three West Coast Premieres
    HOW ONE VOICE CAN CHANGE THE WORLD THE GEFFEN PLAYHOUSE 2014-2015 SEASON A CO-WORLD PREMIERE AND THREE WEST COAST PREMIERES SWITZERLAND WRITTEN BY JOANNA MURRAY-SMITH CO-WORLD PREMIERE WITH SYDNEY THEATRE COMPANY THE NIGHT ALIVE WRITTEN BY CONOR McPHERSON, DIRECTED BY RANDALL ARNEY WEST COAST PREMIERE THE POWER OF DUFF WRITTEN BY STEPHEN BELBER, DIRECTED BY PETER DUBOIS WEST COAST PREMIERE THE GOSPEL ACCORDING TO THOMAS JEFFERSON, CHARLES DICKENS AND COUNT LEO TOLSTOY: DISCORD WRITTEN BY SCOTT CARTER SEASON TO BE COMPLETED WITH AN ADDITIONAL PRODUCTION; PREVIOUSLY ANNOUNCED CHOIR BOY, HERSHEY FELDER AS IRVING BERLIN, AND BAD JEWS LOS ANGELES (April 17, 2014) – The Geffen Playhouse has announced four plays for the eight-play 2014- 2015 season, including the Co-World Premiere, with the Sydney Theatre Company, of the Geffen commissioned, Switzerland, written by Joanna Murray-Smith (The Female of the Species); the West Coast Premieres of The Night Alive, written by Olivier and Evening Standard Award winner and Tony nominee Conor McPherson (The Weir, The Seafarer) and directed by Geffen Artistic Director Randall Arney; and The Power of Duff, written by Stephen Belber and directed by Peter DuBois (Rapture, Blister, Burn); and The Gospel According to Thomas Jefferson, Charles Dickens and Count Leo Tolstoy: Discord, written by Scott Carter. Previously, the Geffen announced the World Premiere of Hershey Felder as Irving Berlin, directed by Trevor Hay, and the West Coast Premieres of Choir Boy written by 2013 MacArthur Fellow Tarell Alvin McCraney, directed by Trip Cullman, and Bad Jews, written by Joshua Harmon and directed by Matt Shakman.
    [Show full text]
  • Memory and Production of Standard Frequencies in College-Level Musicians Sarah E
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2013 Memory and Production of Standard Frequencies in College-Level Musicians Sarah E. Weber University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Cognition and Perception Commons, Fine Arts Commons, Music Education Commons, and the Music Theory Commons Weber, Sarah E., "Memory and Production of Standard Frequencies in College-Level Musicians" (2013). Masters Theses 1911 - February 2014. 1162. Retrieved from https://scholarworks.umass.edu/theses/1162 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Memory and Production of Standard Frequencies in College-Level Musicians A Thesis Presented by SARAH WEBER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC September 2013 Music Theory © Copyright by Sarah E. Weber 2013 All Rights Reserved Memory and Production of Standard Frequencies in College-Level Musicians A Thesis Presented by SARAH WEBER _____________________________ Gary S. Karpinski, Chair _____________________________ Andrew Cohen, Member _____________________________ Brent Auerbach, Member _____________________________ Jeff Cox, Department Head Department of Music and Dance DEDICATION For my parents and Grandma. ACKNOWLEDGEMENTS I would like to thank Kristen Wallentinsen for her help with experimental logistics, Renée Morgan for giving me her speakers, and Nathaniel Liberty for his unwavering support, problem-solving skills, and voice-over help.
    [Show full text]