Summer Stage 1998 (program)

Performed in the summer of 1998. Cast: Michael Armstrong (Acting), Brittiany Bingham (Dance), Emily Burton (Design/Technical), Jean Chanda (Vocal Music), Sarah Chesney (Acting), Rachel Daugherty (Writing), Jasmine Davis (Acting), Patrick Dillon (Vocal Music), Sean Dillon (Vocal Music), Micah Elder (Acting), Mary Floyd (Vocal Music), Kristina Foley (Technical/Design), Leah Frase (Vocal Music), J. Cliff Ganus (Vocal Music), Joni Griffith (Dance), Megan Haney (Acting), Jennifer Horton (Directing), Margery Hunt (Writing), Jessica Jacks (Vocal Music), Kendra Kirklin (Acting), Katherine Kurz (Vocal Music), Jennifer Lawler (Art/Tech), Rachael LeBlanc (Acting), Jack Lofton (Acting), Travis Lowe (Directing), Cathy Lowry (Vocal Music), Haley Mattox (Dance), Amber McCreight (Technical), Angie McCullough (Acting), Josh Miller (Vocal Music), Leah Mills (Vocal Music), Dean Murry (Technical), Kristina Patrick (Acting), Stephanie Pierce (Vocal Music), Tara Quinn (Vocal Music), Leslie Robinson (Dance), Jessica Sardshti (Acting), Sandra Scroggins (Dance), Paige SParks (Acting), Lance Strickland (Vocal Music), Anita Tang (Acting), Erica Taylor (Vocal Music), Brian Thompson (Technical), James Williams (Acting), Jaime Wooldridge (Vocal), and Ryan Yarrington (Vocal Music)https://scholarworks.harding.edu/theatre-history/1192/thumbnail.jp

Summer Stage 1996 (program)

Performed in the summer of 1996. Cast: Eric Allen (Technology), Amanda Andrew (Design/Art), Samantha (Sam) Armstrong (Instrumental Music), Nikki Baratti (Vocal Music), Ian Beard (Acting), Julie Brown (Dance), Richard Bruno (Acting), Carissa Byers (Vocal Music), Karen Carpenter (Acting), Brandy Craig (Dance), Christina Eastman (Design/Art), Daniel Ellis (Acting), Erin Ellis (Instrumental Music), Angela Flanigan (Instrumental Music), Randall Freeman (Vocal Music), Catherine Goff (Design/Art), Sally Goodsell (Dance), Justin Hite (Band), Cara Hopper (Vocal Music), Christy Jolley (Acting), Abigail Jordan (Acting), Erin Lee Jorgenson (Vocal Music), John M. Kelley, Jr. (Acting), Karen Kenney (Vocal Music), Kim Kern (Acting), Kate Kiser (Acting), T.J. Kueter (Vocal Music), Jason Ladd (Instrumental Music), Lisa-Marie Lames (Writing), Tyler Martin (Acting), Roark Maynard (Writing), Kasey Joyce Miller (Dance), Dana Money (Dance), Jillian D. Moore (Dance), Lauren Elise Powell (Vocal Music), Misty Nix (Dance), Fred Richardson (Band), Ashley Ridlon (Dance), Amanda Rundell (Dance), Becky Scopa (Vocal Music), Heather Smith (Vocal Music), Steven Shawn Smith (Acting), Marci Sudduth (Acting), Shannon Sullivan (Vocal Music), Lindsay Waldron (Technology), Katherine Elizabeth Watts (Director), Amber White (Acting), Katey Wiseman (Acting), and Michael Woodall (Vocal Music)https://scholarworks.harding.edu/theatre-history/1184/thumbnail.jp

An Investigation of Ancient Hebrew Music During the Time of the Old Testament: Especially the Role of Music in the Lives of Israel\u27s First Two Kings, Saul and David

Music has always been an inextricable component of Jewish culture from its beginnings. Even before the construction of the Temple, music was used for worship, feasts, festivals, and various other cultural activities. Since much of this music involves the singing of texts, poetry was also a central part of the Jewish music culture. Singing in ancient Israel often involved instrumental accompaniment. The Bible records the texts of much musical activity. Instrumental music, vocal music, and accompanied vocal music are found throughout the Bible. Instrumental music is found in 1 Samuel 16 when David played his harp to soothe Saul and in 1 Samuel 19 when Saul tried to kill David when a troubling spirit came upon him. When men were coming back from battle in 1 Samuel 18, women played instruments and sang songs of David’s greatness. Psalms 16, 24, and 64 are great representations of Hebrew vocal music written by David. Music played a central role in the lives of the first two kings of Israel. This study will encompass a discussion of the role of music in the lives of the first two kings of Israel, Saul and David

Discussion on the Development Trend of Chinese National Vocal Music

National vocal music carries the Chinese cultural spirit and Chinese national genes, and it has great influence among the broad masses of the people. The broad and profound Chinese spirit they display, with deep connotation and far-reaching significance is an important spiritual support for the survival and development of the contemporary nation. At present, the Chinese vocal music circle has effectively led the development trend of national vocal music by focusing on the inheritance and development of national vocal music, conducting academic research, singing exchanges, teaching innovation, media promotion, and field investigation, which has laid a good foundation for the creative development and innovative integration of national vocal music.

Beethoven’s an die Ferne Geliebte

Beethoven has often been accused of writing vocal music which exceeds some normal limitations of the voice. Such unfortunate accusations result in many singers avoiding his vocal music. Through means of historical evidence presented in this paper, through an examination of An die ferne Geliebte and its performance, the writer hopes to dispel some of this misunderstanding of Beethoven\u27s vocal music

Churning the Ocean of Milk: The Role of Vocal Composition in Tibetan Buddhist Ritual Music

Ritual music is a significant but often misunderstood aspect of Tibetan Buddhism. Specifically, vocal music serves a variety of purposes that distinguish the genre from Western music. In order to understand and appreciate ritual vocal music from a Western perspective, there must be firm understanding of the importance of melody and the source of its value. The author has studied with members of the Tibetan Buddhist monastic community, focusing on ritual vocal music and the process of composition. Through an examination of the vocal music composition and of concepts of inspiration and creativity, this paper will shed light on the crucial role of the composer and the process of composing in Tibetan Buddhism

Resting-state language network neuroplasticity in post-stroke music listening: A randomized controlled trial

Recent evidence suggests that post-stroke vocal music listening can aid language recovery, but the network-level functional neuroplasticity mechanisms of this effect are unknown. Here, we sought to determine if improved language recovery observed after post-stroke listening to vocal music is driven by changes in longitudinal resting-state functional connectivity within the language network. Using data from a single-blind randomized controlled trial on stroke patients (N = 38), we compared the effects of daily listening to self-selected vocal music, instrumental music and audio books on changes of the resting-state functional connectivity within the language network and their correlation to improved language skills and verbal memory during the first 3 months post-stroke. From acute to 3-month stage, the vocal music and instrumental music groups increased functional connectivity between a cluster comprising the left inferior parietal areas and the language network more than the audio book group. However, the functional connectivity increase correlated with improved verbal memory only in the vocal music group cluster. This study shows that listening to vocal music post-stroke promotes recovery of verbal memory by inducing changes in longitudinal functional connectivity in the language network. Our results conform to the variable neurodisplacement theory underpinning aphasia recovery.Peer reviewe

Indonesian Poetry Song Composition in Musicology Perspective

This research is an attempt by the author to answer various debates that exist to this day. This debate is often a stumbling block for musicians and also in the field of formal and non-formal education. They are in a confusing position because of the various terms that exist and the identification of the concept of Indonesian vocal music composition which is less comprehensive. Therefore, there is a personal selfishness that tends to reduce the true meaning of the work itself. The author uses a musicological perspective as an entry point to provide a new discourse regarding the composition of Indonesian vocal music. This musicological approach is a process of study, investigation and reflection while still paying attention to the relationship between context and compositional work. The author is also aware of the limitations of the space and time of the research, so that this research is not possible to fully cover all vocal music works composed by Indonesian composers. However, the author believes that the research approach carried out can be used to discuss other vocal music works