Back Home Components Scholarship and Research Volume 37

Volume 37

I. Introduction Television viewing is regarded by most in our society as a recreational pastime and an escapist form of entertainment. Yet media theorists hold the position that television viewing is not the passive activity that we might assume. John Fiske assigns a significant role for television in Western society,…
Laputa, Jonathan Swift's floating island in the clouds, was populated by mathematicians, astronomers, and music theorists whose "heads," Gulliver describes, "were all reclined to the right or to the left" with "one of their eyes turned inward, and the other directly up to the zenith."1 Swift's cutting satire on the…
Improvisation has long been a part of the music curriculum, at least in certain areas of study. It is a staple of jazz studies where students learn the skill through ensembles and specific courses. Organists are taught improvisation as a means of addressing service playing needs, such as creating bridges,…
1996 Robert M. Trotter Lecture "Is there a future for music and music making at universities?" The answer clearly is "Yes. There is a future, even if it is a dismal one." In addressing what's happening to music teaching, I want to consider three areas: classroom music teaching and subject…
Dear Editor, In mentioning the direct line from Paul Hindemith to George Hunter to Tom Binkley, Mr. Buis omitted another important branch in his genealogy of Hindemith's influence on early music performance in America. Perhaps he is not aware that New York Pro Musica, under the direction of the late…
In 1958, Joseph Youngblood's article entitled "Style as Information" explored the notion of musical style as a set of mathematically verifiable preferences for certain musical structures over others.1 In the study, he concentrated on single melodic pitches and consecutive pairs of melodic pitches in certain works by three composers of…
This is the second part of an investigation of how a performer might realistically draw on explicit musical analysis in the preparation of a performance. The choice of piano music by Robert Schumann results in part simply from my musical preoccupations at the time of preparing this article; but it…
Remaking previous hits has long been a staple in commercial pop music. It is a formula that has repeatedly proven successful for both well-known and newly-emerging artists. A tune's commercial value increases if it can appeal, in a repackaged version, to a new audience. In producing such a tune, record…
Carl Miller's letter raises two principle issues: first, Hindemith's legacy of performers in early music, and second, my use of the term "music for amateurs." First, I am glad that Mr. Miller expands the list of early music performers who started performing this repertory under Hindemith's direction. The list confirms…
The categories of background scoring and source music are logical ones into which all film music can be divided." 1 At first glance, Irene Kahn Atkins appears to be correct: source music and background music seem unassailable as the basic types for music in cinema. Part of their power is…
Teaching Rap: Musings At Semester's End1 Hip-hop and its musical vehicle, rap, have become ubiquitous on college campuses in the United States in the 1990s. Among the college set, hip-hop's influence transcends boundaries of race, ethnicity, class, and gender. Black students and white students, affluent students and needy students, female…
A little over a hundred years ago, composers and music critics in the United States launched a debate about the viability of an idiomatically American music and whether its roots could be found in folk music. One of the roots under discussion was music of the American Indian. Given every…