The Voice in Violinby Michael Dabney (Undergraduate) The history of the violin family is ancient and interesting, but the instrument itself only enjoyed widespread popularity after its technological capability was able to replicate the sound of the human voice. This essay covers that history, and also the luthiers who innovated on the instrument to make it as popular as it is today. It also includes acoustic analysis and contextual analysis to prove that the objective of these violin-makers was to replicate the human voice. |
After Death He Did Not Die: An Examination of Palestrina's Continuing Legacyby Abigail Pahl (Undergraduate) Although Giovanni Pierluigi da Palestrina was a famous composer during the Renaissance, his reputation did not die with the end of that period. Instead, Palestrina’s reputation has been maintained throughout music history through his significant influence on Johann Fux and the legends surrounding Palestrina's church music. During Palestrina’s life, the Council of Trent made reforms to the requirements for church music. Among those requirements was the expectation of intelligible text in both polyphonic and homophonic settings. Because polyphony does not naturally lend itself to text clarity, banning polyphony was discussed by the church leaders. However, Palestrina helped to prove that text intelligibility within polyphony was possible through his composition Missa Papae Marcelli. After his death, the legend that Palestrina had single handedly saved church music was formed and quickly spread, causing his fame to grow. Today, his title, “Savior of Church Music,” is still being corrected. Although Palestrina is best known for something he did not entirely do, he is less recognized for his large contribution to the study of counterpoint. Johann Fux wrote his widely used treatise for teaching counterpoint composition, Gradus ad Parnassum, based on elements used by Palestrina. Through the treatise, Palestrina continued to have an influence on composition long after his death. Mozart, Beethoven, and Brahms are several of the many composers who used Gradus ad Parnassum in their compositional studies. Because of the credit he received for saving church music and the influence of his compositions upon Fux’s treatise Gradus ad Parnassum, Palestrina’s name has remained a part of music history from his death until now. |
Breaking Barriers: Unveiling Renaissance Women in Musicby Caroline Canning (Undergraduate) This presentation explores the often overlooked and suppressed role of women in Renaissance music, drawing upon a systematic review of available literature from the 15th and 16th centuries. Canning will highlight how women played crucial roles in the world of music as both patrons, performers, and composers, contributing to the development and flourishing of these fields despite societal restrictions on their involvement. Women's contributions to music were often dismissed in historical accounts, and women's access to musical education and employment was limited. However, this workshop presents evidence to suggest that affluent and royal women were able to access musical education and play a significant role as patrons of music, including influential female patrons such as Maria Mancini Colonna, Queen Christina, Isabella d’Este, and Lucrezia Borgia, and highlights the strategies employed by these patrons, including using music to strengthen political and social connections. This presentation will also discuss the contributions of female musicians and composers, including the Ferrara-based concerto delle donne, Maddalena Casulana, and Vittoria/Raffaela Aleotti, and emphasizes their significant contributions to musical composition and performance during the late Renaissance. Overall, Canning highlights the importance of recognizing the significant achievements of women in Renaissance music and the need to challenge societal expectations and restrictions on their involvement in the arts. |
Andres Segovia: Champion of the Guitarby Casey Gerig (Undergraduate) Today, the classical guitar is recognized as a valid concert instrument: it is taught in most major music schools and conservatories across the world, but it has not always been this way. Before the twentieth century, the guitar was viewed as a simple instrument, incapable of being played in more prestigious venues than bars. In the nineteenth century, a handful of guitarists attempted to change this view of the guitar, but they were all ultimately unsuccessful. Around the dawn of the twentieth century, a man by the name of Andres Segovia decided to radically turn the guitar around and make it a prestigious concert instrument that could rival the violin or the piano. He used a variety of means to accomplish this: scheduling recitals in important venues to raise the public opinion, enlisting non-guitarists to compose new music for the instrument, transcribe important works by notable composers for the instrument, and convince music school and conservatories to teach the instrument at a high level. He was successful in all of these means, but ultimately failed to make the classical guitar as prominent an instrument as the violin or the piano. What causes the guitar to fall short of these instruments and is there a way to raise it up to their level of importance in classical music? |
Music in the Early Churchby Benjamin Heady (Undergraduate) Music in the church is a very broad topic covering millennia. One of the most interesting aspects about church music is the division among congregations caused by the choice of music. It is my contention that the divisions about music in the early - Renaissance period church are not dissimilar to the arguments in today’s modern church. I will seek to present my argument through three questions. What were the main arguments about music in the early church? Were these arguments based on tradition, scripture, or the pursuit of holiness? How did culture play into church music selection, composition, and performance? In my research, I delved deep into the minds of early church leaders like Saint Basil and Martin Luther and discovered their views of church music and its role. This was accomplished through reading primary and secondary sources and comparing and contrasting my findings. I defined whether church music is a primary, secondary, or tertiary issue as I researched similar argumentation about other doctrine issues throughout church history. My findings ultimately supported my thesis that the root issues of church music have not changed since the church of Christ was born. |
Bach and the Sacred Secularby Davi da Silva (Undergraduate) Johann Sebastian Bach is one of the most important figures in Western music. His dedication to performing and composing music resulted in some of the most highly artistic and meticulously crafted works of the eighteenth century. However, recently scholars have been discussing how much of a role Bach's religious beliefs as a Christian played in his compositions. Some argue for a highly spiritually sensitive Bach, that not only expressed his beliefs in his sacred pieces but also implemented hidden meaning and symbolism that pointed to his beliefs in his secular compositions. Others argue for a not-so-religious Bach that adapted to the different environments of his life and composed as a way of living and being paid, instead of his worship to God. I propose that Bach was not a black-or-white figure after all and, after evaluating his life and leaving to the side subjective arguments, we can tell that Bach, through his testimony, saw his work as a performer and composer as a way to glorify God, and did so through all of his musical efforts. |
Sliding Through History: The Development and Great Improvisers of the Jazz Tromboneby Abbie Nelson (Undergraduate) The trombone has come to be known as a great jazz instrument and has developed greatly since the late nineteenth century. The rise and development of the jazz trombone has been primarily influenced by well-known jazz trombonists who each had unique stylistic choices and tones. These musicians, such as J. J. Johnson, Miff Mole, and Frank Rosolino, all had influenced future jazz trombonists to come. Each preceding musician would incorporate a unique style, tone, or mute which would influence the playing of the proceeding trombonists, especially in improvisation. Furthermore, these well-known jazz trombonists were catalysts in the development of the trombone in jazz settings. This presentation will discuss many famous jazz trombonists as well as their contributions to the development of the jazz trombone. In examining their contributions, I will also be explaining how they influenced the later jazz trombonists that proceeded them. My methods of research will include novels and articles that concern the trombonists of several jazz eras such as the Bebop, swing, and Dixieland eras as well as dissertations comparing various jazz trombonists. In the presentation, I will also analyze the improvisational solos of some of the most famous jazz trombonists in order to display their unique styles and how they had each influenced each other; I will use resources such as transcriptions and audio recordings for this analysis. |
Hitler's Germany: Music Under the Third Reichby Chloe West (Undergraduate) In the time of the Third Reich, Hitler was a terror with his anti-Semitic views and heartless agendas for power and purity. Hitler expressed his power and control in various forms, one being in music. His views were confusing, horrific, and oddly but interestingly influenced by artists and their art. Hitler loved art, perfection, and purity, and many of his influences stemmed from Musicologists and composers with the same political and cultural perspectives. Not only that, but he was shrewd and specific in his taste of music. Because nationalism in music was important to him, Richard Wagner was a composer whom Hitler deeply admired. Both politically and socially, Hitler thought Wagner represented the true German music style. Opposingly, Arnold Schoenberg was a composer whom Hitler saw as a disgrace- writing music beyond and outside the lines of “true” and “pure” music. This study will explore and address music under the Third Reich, how Hitler sought power through the arts, his influences, the shunning of Jewish music, and the propaganda used during his reign. |
The Unifying, Comforting, and Organizational Power of Music in the American and French Revolutions.by Allison Renner (Undergraduate) Music played an important role in both the military and the lives of the civilians in the American and French Revolutions. Music was heavily integrated into the Continental Army for organizational purposes with the help of John Hiwell, Inspector and Superintendent of Music in the Army. Signals played by drummers and fifers were used including reveille, retreat, and tattoo in order to help organize the lives of the soldiers. During the French Revolution, singing was a common means to express political beliefs. Two of the most popular tunes that were sung were Ça ira and La Marseillaise. In addition to revolutionary songs, opéra comique amd comédie héroïque, or rescue opera, was an influential means of political expression in France such as Cherubini’s opera, Lodoiska. Throughout both the American and French revolutions, music had the power to organize, comfort, entertain, and unify individuals in the midst of war. |
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The Opera Party: An Inquiry into the Politics of Opera in England during the 17th and 18th Centuriesby Hannah Burkholder (Undergraduate) By investigating research from a number of sources, this paper seeks to provide evidence that opera can be used to communicate political opinions and that it, in fact, has been used to do so in the past. Operas from the late seventeenth and early eighteenth centuries in England are the main focus. After a brief explanation of the origins of opera and its arrival in England, the methods and motivations of composers who included political propaganda in their works are discussed. A summary of the political state of England is included to provide background for the dissection of Handel’s Arianna in Creta and Porpora’s Arianna in Nasso which are used to supply specific examples of politics’ role in opera. In light of the history of opera, the methods and intentions of composers, and the political status of Great Britain during the late seventeenth and early eighteenth centuries, the analysis of these two operas suggests their integration of political propaganda. The author concludes that not every opera is a vehicle for propaganda but that every opera should be carefully evaluated to determine if there is political intent. |
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Harmony in Complexity: The Legacy of Leonard Bernstein in American Musicby Carter Foerch (Undergraduate) Delving into the legacy of Leonard Bernstein, this will be a comprehensive exploration of the iconic American composer, conductor, and educator. Bernstein's extraordinary musical works and reputation as a conductor serve as the cornerstone of the discussion, manifesting in groundbreaking compositions and influential conducting that have left an indelible mark on American music. This exploration seeks to unravel the intricate connection between Bernstein's artistic genius and his personal life, emphasizing the fusion of classical and popular music that played a role in defining the trajectory of American musical culture. Beginning with an examination of Bernstein's formative years and early influences, with an emphasis on Aaron Copland, the lecture navigates the complexities of his personal struggles, providing insight into what shaped his unique musical journey. A spotlight on his role in shaping American music underscores his ability to transcend the boundaries of convention, leaving an enduring impact on the musical landscape. The discourse further discusses his most popular and influential compositions, exhibiting the innovations that distinguish Bernstein's style. Bernstein's contributions as a conductor receive attention, exploring how his interpretive skills and charismatic performances elevated the music to new heights. Critically engaging with Bernstein's legacy, the lecture addresses controversies that surrounded him, offering a balanced perspective on the man behind the music. The discussion ends in an appreciation of how Bernstein's works have enriched the world of music and left an indelible imprint on the broader identity of American music. This will be an opportunity to critically examine the life in interplay with the music of the great Leonard Bernstein, and hopefully clarify the importance of Bernstein's impact on broader American music and culture. |
Sing Sing Sing: Analysis of the term "Sing" in the Psalms and Contemporary Worship Musicby John Chilcote (Faculty) This paper compares the use of the word SING as translated in the Psalms with SING in contemporary worship music with the intent of identifying similarities and differences in the instruction, expression, and conviction of "singing to the Lord." Three Hebrew terms are primarily translated as SING in the Psalms: rānan רָנַן (rejoice, sing out, shout for joy), zāmar זָמַר (sing with instruments, make music, sing together), and šîr שִׁיר (vocalize, make music with the human voice). When examining the frequency of these Hebrew words, we find SING or a variation thereof in over half of the Psalms. This analysis will also consider how our contemporary culture’s understanding of singing within congregational worship has developed over the decades. Worship and singing are intrinsically intertwined. Yet, most worship leaders would agree with pastors and theologians that worship is far more than singing. They are not synonymous terms by any means. However, singing is one of the prominent ways to worship God. “Truly worshipful music is primarily congregational and unites the body of Christ.”[1] This is evident throughout scripture. Conclusively, worship is not reduced to singing alone. However, songs of praise to God were “an essential ingredient of worship.”[2] As Thornton concludes, “gathered believers express their relationship with God through the singing of songs.”[3] This paper is an encouragement to strive to articulate biblically sound, theologically rich, congregationally uniting, Christ-centered, Holy Spirit-inspired, worship to the Father through the songs we sing as a gathered body of believers. May our songs continually teach and encourage us to sing, equally with skill and with abandon, expressing our worship with exuberance and joy. |
A Tale Not So Old as Time: Why the Music of the Disney Live-Action Remakes Pales in Comparison to the Originalsby Savannah Atkins (Undergraduate) Since the success of Tim Burton’s live-action reimagining of Alice in Wonderland in 2010, Disney has been churning out remake after remake of their classic animated films, the most recent being The Little Mermaid in 2023 and with many more planned to come in the next several years. Film critics and fans alike have criticized these films for failing to live up to the quality of the originals in terms of direction, visuals, and performances. While these critiques are well-founded, none of the aspects of the Disney live-action remakes were as disappointing as the music. It was the iconic musical numbers, from soaring character ballads to foreboding villain songs to high-energy dances, that made Walt Disney Animation Studios a staple in households across the world and beloved by all ages. However, the music in the live-action remakes ranges from mediocre copies of the iconic tunes to bizarre additions to the soundtrack that clash with the style of the original score. This presentation will be a side-by-side comparison of classic Disney films with their respective remakes to show that aspects like the vocal performances, orchestrations, and overall direction were executed far better in the originals. |
Reclaiming Worship: Humanism and the Music of Lutherby Matthew Vanden Brink (Undergraduate) This paper describes the development of the Lutheran Chorale in the Sixteenth Century by locating it in its historical, musical, theological, and philosophical context, with special attention given to the impact of Renaissance humanism. The influence of Augustine's theology of music on Medieval chant is explored, as well as Catholic Polyphony's gradual deviation from the ideals outlined in Confessions. Renaissance humanism and the influence of humanist ideals and methods on Luther's Reformation are briefly explored before the rest of the paper describes three foundational elements of the Lutheran Chorale that were influenced by the goals of humanism. These elements are translation into the vernacular, the practice of congregational participation, and the eventual development of homophonic texture. While the development of these humanist-inspired elements was not immediate, they established conventions of corporate worship that are still prevalent today. |
Italian opera from 1800by Xinxian (Anna) He (Undergraduate) There will be an introduction to Italian opera from the 1800s as well as a performance of it. |
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Money-Making Musicians in the Renaissanceby Christopher Staufer (Undergraduate) The presentation focuses on how musicians (both performers and composers alike) made a living in 16th century Renaissance, particularly in Italy. The idea of music for pleasure and enjoyment was beginning to take hold and was part of the culture shift that favored entrepreneurial musicians. Additionally, during this time in Italy, technological advances were being made and inventions such as the printing press were instrumental in how they transformed the dissemination of music compositions. This presentation also explores a few case studies of successful (or unsuccessful) musicians who found a way to support themselves and their families financially through their means of composing, performing, or even both! Some musicians chose to seek financial success through the court system while others sought other means of patronage. Musical patronage largely gained traction because of the societal status that music began to hold, especially for nobility and the wealthy. This aspect of music patronage is explored further and case studies of musicians including Jacopo Corsi, Johannes Puyllois, and Jean Cordier are used as ways to show how these factors either positively or negatively affected these musicians. On the whole, this presentation gives the viewer a better glimpse into what the beginning stages of musical patronage looked like in 16th century Italy. |
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The Life and Works of Robert Schumannby Emily Hakalmazian (Undergraduate) This presentation will study and analyze the life of Robert Schumann and how his life experiences influenced his music. From a trying relationship with his wife and her father to a lifelong struggle with mental illness, Schumann encountered many trials throughout his life. As a result, his compositions held an emotional depth that remains esteemed to this day. |
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