Spartan Daily, November 13, 1980

Volume 75, Issue 53https://scholarworks.sjsu.edu/spartandaily/6689/thumbnail.jp

Spartan Daily, April 5, 1939

Volume 27, Issue 110https://scholarworks.sjsu.edu/spartandaily/2900/thumbnail.jp

The Stetson Collegiate, Vol. 12, No. 06, March, 1902

Stetson University student newspaper, written by the students and published at Stetson University. It started publication in 1887 as the DeLand Collegiatehttps://stars.library.ucf.edu/cfm-stetsoncollegiate/1486/thumbnail.jp

The use of the saxophone in the dramatic music of Leonard Bernstein

"This largely descriptive document examines the writing for saxophone in Bernstein's dramatic works for the stage. In looking at the scores for West Side Story, Wonderful Town, On the Town, Mass, and A White House Cantata , elements of musicianship and style that confront the player who is seeking an informed performance of Bernstein's work are discussed, as well as appropriate technical approaches for accomplishing a successful performance. Of primary consideration are performance practice concerns such as phrasing, articulation, and tone color appropriate for the various styles of music Bernstein writes in his eclectic music, as well as score knowledge and elements of playing in orchestra such as balance and blend with other instruments. The result is demonstrated with edited musical excerpts and accompanying annotations, and the conclusions drawn are supported by interviews with prominent New York-Broadway theater performers. The study does not address concerns regarding the various arrangements of these works for orchestra, band, or chamber group. Additionally this research does not address other works of his that utilize the saxophone, such as the film score to On The Waterfront and Prelude, Fugue, and Riffs for solo clarinet and jazz ensemble. Also delimited will be issues such as 'doubling' other instruments, matters of playing specific saxophones, or saxophone equipment. In addition to the major thrust of the study, an up-to-date survey of scholarship and related research on Leonard Bernstein is presented, as well as a complete edition of the saxophone parts for each score are included for further study and practice."--Abstract from author supplied metadata

Singing while female: A narrative study on gender, identity & experience of female voice in cis, transmasculine & non-binary singers

This study explored the personal narratives of six AFAB (“assigned female at birth”) singers – three cis and three trans/non-binary performers of varying ages, ethnicities and locales – to understand how their experiences informed their musical, vocal and gender identities and shaped their musical and vocal lives. Using semi-structured interview process, the singers recounted their memories and understanding of significant events in their development, and together, each singer and I explored those recollections through a process of collaborative self-exploration. Emerging themes from those narratives underscored the need for further investigation into the intersection of AFAB voice, singing and gender, as both existing literature and the results of this study suggest a deeper understanding of the issues around gender socialization, normative expectations and voice is necessary to appropriately and effectively prepare singers at all levels of their musical and vocal education. Study results found that there are many sources of socially-mediated influences which shape AFAB singers’ development of self, their individual and social identities, and their perceptions of their voice – particularly in the context of normative expectations that define gender and gender identities. While all study participants clearly experienced pleasure in musical performance, the narratives revealed a complex web of expectations and influences that contributed significant amounts of anxiety, with both physiological and psychological repercussions, to the performers’ lives. The ways in which the singers both fell victim to and addressed these sources of stress suggest many topics for further exploration and discussion within the professional voice and music education community, including the role of expert influence, the development of personal agency and perceived self-efficacy, as well as the need for individualized, holistic approaches to vocal pedagogy

The Trail, 1924-04-23

https://soundideas.pugetsound.edu/thetrail_all/3726/thumbnail.jp