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Seduction and Subversion: The Feminist Strategies of Siouxsie and the Banshees
Charles Mueller
December 13, 2017
Composing a Sound: Giacinto Scelsi’s L’âme ailée / L’âme ouverte for violin solo
Thomas DeLio
December 22, 2017
Music Faculty at Work in the Academy: Job Crafting
Sang-Hie Lee and Jonathan McNaughtan
December 21, 2017
Rock Guitar in the Conservatoire: The Confluence of Informal and Formal Music Education
Clive Maxwell Harrison
December 21, 2017
Creating Music Curricula of the Future: Preparing Undergraduate Music Students to Engage
Roger Mantie, Sarah Gulish, Greg McCandless, Ted Solis, David Williams
September 27, 2017
The Virtual Tuba Quartet: Facilitating Asynchronous Musical Collaboration in a Chamber Ensemble Setting
Emmett James O'Leary
September 22, 2017
Approachable Contemporary Piano Repertoire! A Study of Selected Piano Works by Two Living Composers: David Duke and Stefan Young
Wei Chen Lin
July 25, 2017
Jean Sibelius as a Song Composer
Sooah Park
July 21, 2017
A New Approach to Music History Pedagogy Using iPad Technology and Flipped Learning
Art Brownlow
July 21, 2017
What is Online? A National Survey of Course Offerings in Music and a Case Study in Music Theory
Brendan McConville and Barbara Murphy
June 29, 2017
All My Students Are Non-Majors: An Online Music Appreciation Course for a Diverse Student Body
Kim Davenport
March 31, 2017
What Defines an Audio Logo? Composition and Meaning
Stan Renard
March 28, 2017
Technology-Mediated Musical Accompaniment: A Post-Production Analysis of Timbral Change with Virtual Instruments and Attentive Mixing
Daniel A. Walzer
March 20, 2017
Examining Equity in Tenure Processes at Higher Education Music Programs: An Institutional Ethnography
Deborah Bradley, Deanna Yerichuk, Lori-Anne Dolloff, Kiera Galway, Kathy Robinson, Jody Stark and Elizabeth Gould
January 31, 2017
Heritage Band of the Midwest Digital Audio Archives: 40-Plus Years of Volunteer Dedication to International Wind Band Music
David Brian Williams
April 28, 2017
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