Intercultural Music Education: The Moral Ethics of Cultural Educational Exchange

It is important when considering a position as a music educator within a non-Western society to examine the political, social and religious influences that are present in music in order to assist in alleviating the tensions and dangers that such an introduction may create within a culture. Once these issues are understood, it is clear to see that a system of intercultural exchange instead of Western globalization would benefit both teacher and student while still maintaining cultural integrity. The advantage of such an approach would break down cultural barriers, preserve the existing culture, and provide a Christian educator with a non-invasive tool that introduces their students to the character of God

Fiddling with pasts : from tradition to heritage

Preprin

A Manifesto of Nodalism

This paper proposes the notion of Nodalism as a means describing contemporary culture and of understanding my own creative practice in electronic music composition. It draws on theories and ideas from Kirby, Bauman, Bourriaud, Deleuze, Guatarri, and Gochenour, to demonstrate how networks of ideas or connectionist neural models of cognitive behaviour can be used to contextualize, understand and become a creative tool for the creation of contemporary electronic music

Power, agency, deference and difference Examining the politics of composer–performer relationships in the wake of recent innovations

With a view to uncovering the political implications of notational, technological and musical innovation in composer–performer relationships within Western art music, this paper examines three disparate works: Christian Wolff’s Duo for Pianists II (1958); Brian Ferneyhough’s Unity Capsule (1975); and Georg Hajdu’s Schwer… unheimlich Schwer (2009). By first exploring two innovative 20th century works, Duo for Pianists II and Unity Capsule, the paper establishes a framework for a discussion of the political and ethical dimensions of composer–performer relationships in relation to the 21st century innovation manifest in Schwer… unheimlich Schwer (2009). This multidimensional examination draws on Warren’s (2014) examination of the relationships between ethics and music, Godlovitch’s (1998) philosophy of performance, and research carried out by practitioners such as Couroux (2002), Schick (2006) and Eigenfeldt (2011; 2014). The paper concludes that all three pieces demonstrate the potential for notation to have strong political implications, and that composers are ultimately responsible for the political implications of the performance experience

ALEA III, 1994 International Composiion Competition for Young Composers, September 9, 1994

This is the concert program of the ALEA III, 1994 International Composiion Competition for Young Composers performance on Wednesday, September 28, 1994 at 7:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Bali Suite by Thomas Reiner, Canopy by Beth Wiemann, The Blue Melody by Kui Dong, Choreographik by Paolo Minetti, Invocation by Apostolos Paraskevas, Mouvements by Carlos Grätzer, and Le città invisibili III: Zaira by Anthony Cornicello. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

ALEA III, All American, November 1, 1995

This is the concert program of the ALEA III, All American performance on Wednesday, November 1, 1995 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Invention for piano by Carlos Chávez, Kokoro by Roger Reynolds, History of Tango by Astor Piazzola, Quartettino by Rudolf Komorous, Duos Concertante by Juan Orrego-Salas, and Theme and Variations by Amy Marcy Beach. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund