Data Utilization Study

Abstract pending

Report on the Expenditure of Lottery Funds Fiscal Year 1999

Abstract pending

HOPE Longitudinal Study: Year 2 Results

Abstract pending

“Weed Crumbles into Glitter”: Representing a Marijuana High in Frank Ocean’s Blonde

Musico-analytical examination of Frank Ocean's album Blonde and the lyrical references and musical allusions to a marijuana high

‘Hand in Glove’ and the Development of The Smiths’ Sound

The Smiths are one of the most commercially successful and in uential bands to emerge from the British post-punk movement in the 1980s. Along with elements such as lyrics, harmony, and musical form, a key component of The Smiths’ distinctive musical style involves their sound and, in particular, their sound as represented on studio recordings. Drawing upon the work and insights of scholars such as Albin Zak, Allan F. Moore and Ruth Dockwray, this paper details the complex recording history of the band’s rst single ‘Hand in Glove’ in an attempt to trace the development of The Smiths’ unique recorded sound

Inspiring Student Self-Motivation

While normally appreciative of the invitation to join colleagues in a discussion of pedagogy and what “works” in the classroom, I have in most instances reluctantly participated in discussion of student motivation. I dip my toe into this philosophical quagmire only if permitted license to substitute the phrase student inspiration in place of student motivation. I also find it helpful to turn the rhetorical tables, as it were, and consider self-motivation on the part of students. The concept of individuals who hold some sense of self that a classroom mentor may nurture through student inspiration is one in which I place a modicum of trust. To “inspire” is literally to “breathe in,” to actively pull sustenance from a proffered external source. Active student determination based on some sense of self may couple with instructor inspiration to promote academic success

Examining Rhythmic and Metric Practices in Led Zeppelin's Musical Style

In this essay, I examine how aspects of rhythm and metre play a fundamental role in shaping and defining Led Zeppelin’s musical style. At the same time, I will show how Led Zeppelin was able to modify, manipulate, and develop pre-existing musical models and forms through various rhythmic and metric strategies. Comparative analyses will be used in an effort to show how Led Zeppelin’s flexible conception of rhythm and metre enabled the band to put their own stylistic ‘stamp’ on (i) specific musical genres (‘The Crunge’ and the song’s relation to James Brown-style funk), (ii) their riff constructions (‘Black Dog’ in relation to Fleetwood Mac’s ‘Oh Well’), and (iii) their cover versions (‘Dazed and Confused’). Drawing upon my analytical points, I re-visit the complex issues that persist regarding the possibility that Led Zeppelin even has an ‘original’ or ‘unique’ style given their often overt reliance upon earlier musical models and forms. Therefore, in my conclusion, I argue that the development of any artist or group’s individual style necessarily involves the ability to assimilate and transform pre-existing musical features – features such as rhythm and metre – in novel ways and where issues relating to musical style intersect with influence

Schoenberg, Unfolding, and ‘Composing With Twelve Tones’: A Case Study (Op. 25/I)

For Arnold Schoenberg, presentation (Darstellung) is an act of conscien- tious composition by which the formal/functional properties of motives and Gestalten, along with any possible development or variation, are real- ized in the creation of a coherent musical artwork. Presentation, then, is the manner by which a musical idea (Gedanke) is made comprehensible. Like the “musical idea,” the concept of presentation assumes a variety of forms and functions in Schoenberg’s theories. In its most general sense, presentation describes abstract musico-compositional practices deduced from a wide range of composers and works from a variety of musical styles and historical periods. Schoenberg distinguishes three forms of presenta- tion in his theoretical writings: “stringing-together” or “juxtaposition” in popular musical forms, developing variation in homophonic music gen- erally associated with the “Viennese Classicist” period, and “unfolding” or “envelopment” (Abwicklung), a form used to describe the polyphon- ic/contrapuntal practices of the Baroque as exemplified by the music of J.S. Bach. In the present essay, I will focus on unfolding by examining this particular method of presentation within the context of Schoenberg’s twelve-tone compositional practices using the Prelude from the Suite for Piano, Op. 25 as a case study. As I hope to show, principles associated with unfolding can, with some slight modifications, serve as a viable method of presenting musical ideas in a twelve-tone context