An overview of a project based thesis that did not have the support or funding to be carried out to completion. The project was based around starting up a summer recruitment program for the East Tennessee State University Music Department. The program would consist of various summer events for high school students used to recruit for the department as well as encourage music and fine arts degrees.

In the previous two decades, live streaming has become a popular trend in the music industry. From TV and radio broadcast to live streaming on social media, the relationship between audience and performers has been transforming over time. In 2019, due to the sudden spread of Covid-19, the popularity of watching live streaming events reached an unprecedently peak. According to some market studies, this trend will continue even when the pandemic will be over. This research aims to explore how live streaming has changed the interaction between audiences and performers as a consequence of this great event.  In order to understand the current music live-streaming culture, an online survey, interviews and field studies were conducted to obtain insights about potential problems and needs in live streaming. Through the project, a new design feature, the “Cheering” function, is suggested as an additional function to the existing live-streaming platforms, to enhance and enrich the interaction between audience and performers.

The topic of this artistic research project is the musical performance method where a solo singer conducts an orchestra while singing. The aim is to shine a light on the effect this performance practice has on the quality of the performance; if it hampers the singer’s ability to interpret the lyrics and make theatrical gestures or if the musical performance can possibly benefit from having one person singing and conducting. The core of the project is a concert in Reykjavík organised by this author where she performed as solo soprano and conductor with a chamber orchestra. The research was made from her personal perspective, while the views of instrumentalists also played a significant role. The author observed the internationally renowned soprano and conductor Barbara Hannigan as she rehearsed and performed a concert with the Iceland Symphony Orchestra (ISO) at the Reykjavík Arts Festival. For this project the writer enjoyed the cooperation of three composers whom she commissioned to write pieces especially for her to sing and conduct, and together with Zerbinetta's grand aria by Richard Strauss this music was premiered by her and a chamber orchestra at her concert in Eldborg, Harpa at the Reykjavík Opera Days on November 5th, 2022. / <p>Soprano takes the baton!</p><p>In Eldborg, Harpa on November 5th, 2022 at the Reykjavík Opera Days festival finale.</p><p>Ragnheiður Ingunn Jóhannsdóttir, soprano and conductor.</p><p>Program:</p><p>Jóhann G. Jóhannsson: Be not afeard – Concerto for Coloratura Soprano and Chamber Ensemble (2022), premiere </p><p>Lyrics: William Shakespeare (Caliban’s Speech from The Tempest)</p><p>I: Be not afeard - lyrics: William Shakespeare</p><p>II: Ekkert að hræðast - translation: Helgi Hálfdanarson</p><p>III: Var icke rädd - translation: Carl August Hagberg</p><p>—</p><p>Ingibjörg Ýr Skarphéðinsdóttir: Fasaskipti (2022), premiere</p><p>Poem: Þórdís Helgadóttir</p><p>—</p><p>María Huld Markan Sigfúsdóttir: Djúpalón (2022), premiere</p><p>Poem: Þóra Hjörleifsdóttir</p><p>—</p><p>Richard Strauss: Großmächtige Prinzessin (1912), Zerbinetta’s aria from Ariadne auf Naxos</p><p>Lyrics: Hugo von Hofmannsthal</p><p></p><p>Chamber orchestra:</p><p>Rannveig Marta Sarc (violin), Gunnhildur Daðadóttir (violin), Anna Elísabet Sigurðardóttir (viola), Guðný Jónasdóttir (cello), Xun Yang (double bass), Kristín Ýr Jónsdóttir (flute), Julia Hantschel (oboe), Birkir Örn Hafsteinsson ((clarinet), Bryndís Þórsdóttir (bassoon), Stefán Jón Bernharðsson (horn), Helga Bryndís Magnúsdóttir (piano) &amp; Helgi Þorleiksson (percussion)</p><p>Recording: Stúdíó Sýrland </p><p></p><p>The concert was sponsored by:</p><p>Óperudagar – The Reykjavík Opera Days.</p><p>Tónlistarsjóður – “Music Fund” (Iceland Ministry of Culture).</p><p>Hljóðritasjóður – “Music Recording Fund” (Iceland Ministry of Culture).</p><p>Tónskáldasjóður RÚV og STEFs – “Composers’ Fund” </p>

While there are many women (and others of non-male genders) as well as people of color who compose for concert bands, they are often not given equitable recognition or representation. Over the past several decades, pushes for diversity within the classical music realm and higher education have sparked numerous discussions surrounding current practices (Bond 2017, 154; Bowman 2020, 10; Cumberledge and Williams 2022, 4; Peters 2016, 22): who are we inviting into our programs, whose music are we playing, and who are we representing? Despite these concerns, there has been very little research to provide answers to these questions within collegiate wind bands. The purpose of this study is to fill this gap in knowledge and discover whether college and university bands are in fact increasing the diversity of programmed composers in their repertoire. This study also identifies trends in the frequency of programming certain demographics of composers and examines whether particular institutional factors have any effect on this diversity. To identify these trends, I gathered concert programs from colleges and universities across the United States for the 2000-2001 through 2020-2021 academic years. This information was catalogued into spreadsheets, along with demographic information about each composer, and were later statistically analyzed to determine (a) the level of diversity in collegiate band concert programming, (b) whether programming has become more diverse over the last two decades, (c) if the institution’s region, size, or affiliation affected how diverse the programmed repertoire was, and (d) the diversity of the composer base from which we draw our repertoire. This study provides a lens into the level of diversity in programmed collegiate wind band concert literature and where that level should be moving forward.

No description available.

Barring a few notable exceptions, English music between the eighteenth and twentieth centuries earns scant notice in music history textbooks, despite overwhelming evidence that England enjoyed a vibrant musical culture, especially during the Georgian era. However, I will argue that the English of this period were, in many respects, even more committed to music than their continental counterparts. The problem, for England, was not that it made no music during this period, but that it made the wrong kind of music, and enjoyed it in the wrong ways. At a time when Germanic critics like E.T.A. Hoffmann and A.B. Marx were establishing grand, large-scale musical masterpieces (and the singular geniuses who created them) as the highest form of art, the English prioritized musical process over the musical work, and remained committed to music that could be played and enjoyed socially, in drawing rooms. I argue that England’s absence from the standard music history is due to three primary social issues: England’s complex and longstanding cultural anxieties regarding music’s supposed ability to feminize men and empower women; the invisibility of England’s most musical citizens (women); and a vibrant culture of domestic music-making (dominated by women) that was incompatible with the new aesthetic values of nineteenth-century Romanticism, which placed greater importance on the autonomous musical product than the malleable musical process.

This DMA dissertation provides a pragmatic and coherent way of interpreting a piece of post-tonal music, Four Songs of Solitude, by John Harbison. In this study, a modified Schenkerian analysis, namely linear analysis, serves as a methodological tool for the performer to identify and understand the implicit focal pitches, linear progressions, musical directions, and background structures of the music. By exploring this modified Schenkerian approach to interpreting post-tonal music in-depth, the performer is expected to achieve convincing results in performance on stage.

Existing studies of popular culture and popular politics in the long eighteenth century over-favour either the ‘culture’ or the ‘politics’. This thesis contributes to debates on the making of both national and class identity in Britain via intensive analysis of popular song culture, in the context of the Napoleonic Wars. Portrayals of Napoleon himself are used to shape the thesis’ source material and the forms of discussion. It argues for the necessity of sympathetic, informed contextualisation of political issues within contemporary cultural processes: that an understanding of the composition/production and performance/ consumption of song is a prerequisite of determining songs’ relevance and reception. In so doing, it uncovers a nuanced array of attitudes towards both Napoleon and British patriotism, of unsuspected breadth, assertiveness, and idiosyncrasy. The thesis is divided into two stages of argument. Part I consists of a close and contextualised reading of songs as literary and musical objects. Chapter One, after close historiographical engagement that moves to a focus on Colley’s Britons and revisionist arguments about British society, discusses those songs originating after Waterloo. Chapter Two considers songs from 1797-1805. Chapter Three considers songs from 1806-15. Part II builds upon the themes and conclusions of Part I by situating these songs within a lived context. Chapter Four looks at the role of songwriters and printers; Chapter Five at singers; Chapter Six at audiences and reception. Chapter Seven elaborates the overall argument in a synoptic case study of Newcastle. The conclusion is followed by an appendix, listing the songs most pertinent to the thesis, giving additional bibliographical information. A hard copy (USB) of recordings of a representative selection of these songs is also included. These appendices reinforce the thesis’ methodology: to consider songs, not as passive evidence of expression, but as active, dynamic objects.

文化創意產業是人類知識的薈萃，屬於無價的無形資產，透過時代與空間交織出千變萬化的形貌，展現人類的智慧與創意的極致。表演藝術肩負「文化」承傳的使命，發揮「創意」的極限，是文化創意產業的核心，讓人們從庸碌的生活中，找到另一片新的可能。 全球第一個喊出「文化創意」的英國，創造了2001年所選定的十三個創意產業中，創造132萬的就業人口，總產值更高達1,125億英磅的佳績。令各國開始注意起文化創意產業帶來的附加價值，文化創意產業逐步成為全球矚目的新興產業。國內政府目前積極投入文化創意產業，透過強化網路外部性，除了創造更大的獲利空間，同時也為國內的文化環境，提昇更大的產業競爭優勢。 國內的音樂表演藝術活動擁有最多人數參與，也是最蓬勃發展的文化創意產業之一。例如前年流行日本的「交響情人夢」風潮，一路吹回國內，除了成功將趨勢與古典音樂相結合，創造國內的藝文話題外，也成功帶動國內的音樂水準，令參與人數直線攀升。 本研究以組織發展成熟為區隔，分析目前位處組織成熟期的音樂表演藝術團體之行銷策略與經營模式，透過其經驗分享與個案分析方式，與位於組織萌芽期的團體作對比，進一步分析其內外部優劣勢與與整體環境之評估，希望能夠提供未來文化創意產業發展的具體建議。以國內最知名的朱宗慶打擊樂團為例與新創團體-心享交響管樂團為例，本研究分析研究音樂表演團體之成功因素與行銷策略，透過國內外文獻與研究，進一步驗證藝文教育對文化創意產業發展之重要性，提供台灣的文創產業更寬廣的未來。 / Cultural and Creative Industry is an invisible asset which belongs to the whole human beings. It presents in various forms during ages, and it also transformed into the ultimate attainment in the history. Performance Art is the core of the Cultural and Creative Industry, and it develops the appearance of the “Culture” and also elaborates the limits of the “Creativitity”. It provides people to have wide imagination in their day-to-day lives. Even the music performance is the most popular activities in Taiwan, but it is still a huge chanllege to attract more people getting into the concerts hall. More and more groups attepmt to find out a better solution to make their customer loyally and increase the frequency of customer presence to the programs. According to the research, it will be better to understand the customer behavior well or teach them when they were in childhood. The researcher interviews two music performance groups, one is a well-known band, Ju Percissopm Groups; and the other one is a new beginner, Shin-Sharn Wind Symphony Orchestra. After the research, it shows the importance of the education. Meanwhile, it is more essential to link up with the trend and maintain the relationship with the other different groups. For example,” Madame Cantabile”, the famous Japanese Drama which broadcasted couple years ago, it had already promotes the classical music, and it also fascinates lots of new consumers which has never listen to classic music. It made a huge hit to classical music, and it also set an excellent example for the Cultural and Creative Industry.

Luis Serrano Alarcón is one of the most important and relevant composers of our time. He is sought after as a composer, lecturer, and conductor throughout the world. His works have been performed in over 30 countries worldwide by some of the leading musical ensembles in the United States, Europe, and Asia, as well as being highly decorated by winning many prestigious composition contests including the International Band Competition Contest of Corciano, Italy. Born in Valencia, Spain, Alarcón is relatively self-taught in composition, which is a testament to his natural-born gift for composition. His compositional output ranges from the traditional Spanish pasodoble to chamber music, solo pieces, and sophisticated masterpieces for orchestra and wind ensemble. His work Duende: Four Preludes for Symphonic Wind Ensemble was commissioned by the University of St. Thomas Wind Ensemble, Minnesota (USA) in 2010. From its premiere, it became an extremely popular piece among wind band conductors. Duende’s appeal can be attributed to its fusion of Spanish popular music, the symphonic energy of Manuel de Falla’s scores, Iberia by the Spanish composer Isaac Albeniz, and the presence of jazz and Latin music. A detailed conductor’s guide will be provided in this document that includes but not limited to an analysis of form and structure for each movement, conducting considerations, and rehearsal suggestions and techniques. Last but not least, an in-depth exploration into the composer’s background, Spanish musical influences, and the Spanish Band movement and traditions has been conducted. Through this process, an uncovering of intriguing and relevant points of interest have come to the surface. Alarcón’s music sounds the way it does and appeals to the masses because of the juxtaposition of its infectious, Spanish musical elements, as well as its traditional symphonic music components. Moreover, the long and historical past, culture, and traditions of Spanish Bands creates an enormous influence and motivation to compose for the wind band genre. More than two-thirds of all municipalities in Valencia, Spain have musical societies that serve as sponsors for the bands and other ensembles, provide music education, and function as a social center to the townspeople. They are also supported by the Valencian Federation of Musical Societies, all branches of government, the business community, and the media. The musical ensembles participate in both non-competitive and competitive performance activities. Non-competitive performances include concerts, wind band festivals, honor bands, and massed bands. Wind band competitions are sponsored at the municipal, provincial, regional, and international levels. Many of these performance types are combined for special celebrations like patron saint holidays, including Las Fallas and Moros y Cristianos.