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V-Pop Through the Decades: An Analysis of Changing Vietnamese Identity Through Music
Brittani Roach
Swinging on the Spiral: A Musical, Mathematical and Spiritual Analysis of the song Lateralus
Pete Marjenin
And Can It Be That I Should Gain: Musical Analysis of Bilingual Hymns in the Christian Church of the US Chinese Expatriate Community
Yan Xian
Reinventing Ballet: Examining the Development of The Ballets Russes from 1909-1913
Wesley Doucette
What Music Tells Us About Ourselves and Our Cultural Experience
Mary L. Tuck
Comparative Analysis of “Pinsha Luo Yan,”A Piece for Qin
Shasha Zhu
Presenter abstracts and bios
Issues of Federal Policy Influencing Instrumental Music Education: The Move from Reaction to Active Involvement
Joseph W. Ellis
Instrument Selection in School Music Ensembles: Influences and Considerations Effecting Student Interest and Choice
Darren LeBeau
Alternative Ensembles: Rationales for Implementation in Secondary Instrumental Music Programs
John Owens
Traffic/Light: Post-Cage Discourses on Silence
Bill Sallak
Vietnamese Pop Music in Rural America: An Exploration of the Continuance of a Culture in Northeast Ohio
Brittni Roach
Metal Metal Land, Where Men Have Long Hair, Women are in Control and Where Societal Rules of Gender are Broken: An Examination of Masculinity in Heavy Metal Music
Pete Marjenin
The Identity of Fife and Drum Reenactors
Patricia Rolland
Chinese Church Music-making: Integration and Adaptation of Chinese Music Traditions in an American Church
Yan Xian
Taiko: A look at Society and Performance
Paul Wetzig
V-Pop Through the Decades: An Analysis of Changing Vietnamese Identity Through Music
Brittani Roach
Abstract
This presentation examines the evolving Vietnamese identity over the decades since the Vietnam War through the metamorphosis of musical qualities in Vietnamese popular music. With an analysis of musical characteristics including melodic contour, ornamentation, and instrumentation, the presentation will explore how music embodies the changing Vietnamese identity since the influence of Americanization following the Vietnam War. The analysis will show how musical and extra-musical characteristics of the music scene have progressed from more Vietnamese in quality to less Vietnamese in quality from past to present.
Bio
Brittni Roach is the founder and director of the Musical Moments piano and violin studio in Hartville, Ohio. She holds a Bachelor of Music degree in piano performance with a concentration in pedagogy, as well as a minor in violin performance from the University of Mount Union. Brittni is currently pursuing a Master’s of Arts degree in Ethnomusicology. She has been a leading member in the Alliance Symphony, the University of Mount Union Repertory Strings, and Tuscarawas Philharmonic.
Swinging on the Spiral: A Musical, Mathematical and Spiritual Analysis of the Song Lateralus
Pete Marjenin
Abstract
This paper will present an analysis of the song Lateralus as written and performed in the studio by the Progressive Heavy Metal band, "Tool". Analysis will include an examination of the musical elements and content, focusing on the core instrumentation and vocals, an examination of the rhythms and time signatures as they relate to mathematical concepts as well as a discussion of the spiritual elements presented in the lyrics of the song. This paper will discuss the complexity of Progressive Heavy Metal as a form of musical expression as well as a vehicle to express personal philosophical and spiritual ideologies.
Bio
Pete Marjenin completed his undergraduate work at Mercyhurst University studying Music and Anthropology, with a special interest in Heavy Metal music and culture. His field research has included performances by Rush, Iron Maiden, Judas Priest, Rammstein, Anthrax, Testament, Exodus, Nine Inch Nails, Soulfly, Arkona, Epica, Týr, Korpiklaani, Amon Amarth, Mayhem and numerous others. He is currently an Ethnomusicology graduate student at Kent State University.
"And Can It Be That I Should Gain": Musical Analysis of Bilingual Hymns in the Christian Church of the US Chinese Expatriate Community
Yan Xian
Abstract
This presentation focuses on the musical analysis of a bilingual hymns in the Christian church of the US Chinese expatriate community. Though populations from Mainland China and other Cantonese-speaking regions share a common historical background, the cultural and political boundaries between these two areas often discourage cooperative cultural exchange. Bilingual hymns in the church, however, function as a common means of overcoming this cultural divide and bilingual difference. With these notions in mind, one repertoire I will analyze is "And Can It Be That I Should Gain". This analysis of how bilingual hymns are used in worship will illustrate the relationship between music and language. Furthermore, it will include a study of Mandarin and Cantonese musical idioms influenced by Western musical style. The integration of different musical expressions is important for establishing a unified Chinese identity that overrides cultural and linguistic differences.
Bio
Yan Xian is currently the first year graduate student in Kent State University. She is pursuing a Master degree in Ethnomusicology. Xian acquired her bachelor’s degree in Musicology at Nanjing University of the Arts, China. She has done fieldwork including the Shanghai’s Christian Sunday Service, Northeast Christian Sunday Service, and Chinese and Cantonese Opera in the southern coastal cities of China. Her current interests include Church Music, Thai music and its culture, Christian Gender study of Music and Jazz Music.
Reinventing Ballet: Examining the Development of The Ballets Russes from 1909-1913
Wesley Doucette
Abstract
One hundred years ago this May, a production was performed in Paris that shocked its audience to the point of riot. This production was Nijinski and Stravinsky's "Le Sacre du Printemps," and it still stands today as a beacon for modernist aggression and artistic innovation. Though how did The Ballets Russes reach this climactic statement of Darwinistic death?
Before the advent of The Ballets Russes, ballet was a dying art form in Paris, with modern dance playing the role of its assassin. The west was no longer willing to preserve or innovate their own artistic heritage, therefore an outside innovator was needed. In 1909 the Russian aristocrat, Sergei Diaghilev, introduced his company, The Ballets Russes, into the Parisian cultural landscape. Between the company's inception, to its infamous "riot at 'The Rite'," The Ballets Russes, headed by Diaghilev, balanced a journey of innovation and relevancy, which would ultimately revive ballet for its cold war golden age. Through the company's most famous works, in its pre WWI golden age, a mapping of innovation will be shown.
Bio
Wesley Doucette is a senior double major in Theatre Studies and Art History, as well as a Dance minor here at Kent. During his four years at the university he has worked in multiple facets of the College of the Arts. He has performed in the marching band, danced in both the Student Dance Festival and the Faculty Dance Concert, performed in two main stage dramas, and has seen his drawings hung in the student art gallery. He also spent a semester in central France, where he studied french culture, art history, and language. In this past year Wesley has organized two art galleries, written and directed his own silent dramatic production of "The Rite of Spring," choreographed and directed a production of "The Summoning of Everyman," and is currently serving as producer and director of Brecht's "The Threepenny Opera."
What Music Tells Us About Ourselves and Our Cultural Experience
Mary L. Tuck
Abstract
What is it about music that reveals to us our humanness? Why do we do what we do in our cultures? Is there a way that science and the humanities can work together to help reveal these secrets? Today, more than ever, there is awareness that multidisciplinary collaboration will help move all our fields forward. Psychology, neuroscience, anthropology, semiology (to name just a few of the fields involved) are sharing a common dialogue through music. Ethnomusicology, with a multidisciplinary approach as one of its hallmarks, uses the tools of its sister disciplines to look at ourselves at home in our cultural traditions through the lens of music.
What a community holds as sacred and how that experience is communicated and translated into our daily experience is pointing to some potential human universals. The idea of a shared experience is at the very core of our existence and music is an immediate, creative and evolving partner to that experience. Art moves us along our evolutionary path. Today, we will look at the science in the spiritual practice of kirtan (call and response accompanied singing) to understand ourselves in both a reflective and reflexive way.
Bio
Mary L. Tuck is currently pursuing a MA in Ethnomusicology (Kent State). She holds a MBA in Systems Management from Baldwin-Wallace College (Berea OH), a BM in Classical Guitar Performance from Kent State University (Kent OH), and a Certificate in Arts Management from Cuyahoga Community College (Cleveland OH). Mary combines her academics with experiences in the field, specifically with heritage, classical and new music festival development, promotion, and presentation. Through 20 years of these experiences, Mary has developed a rare insight into music making.
Comparative Analysis of "Pinsha Luo Yan," A Piece for Qin
Shasha Zhu
Abstract
This paper illustrates the development of individual styles of qin music through the investigation of six different versions of a single qin tune “Phinsha Luo Yan.” With an introduction to, and primary references for, Pinsha Luo Yan, the presentation will explain the meaning of the title, “Pinsha Luo Yan,” and will thereby explain why each qin piece has different versions, and how this phenomena connects to different primary source references for Jian Zipu notation. Different qin players chose Dapu notation to transcribe Jian Zipu notation, and their choices have influenced different creation of qin music playing. I will then compare the six different editions to show the different musicians’ individual playing style in terms of improvisation, rhythm sense, and usage of harmonics. Lastly, through listening to different sound recordings of “Pinsha Luo Yan”, I will reveal the aesthetics of guqin music and show the different characteristic of different qin schools.
Bio
Shasha Zhu graduated from Nanjing University, China, and studied Chinese seven string zither, Qin performance. Currently, she is a second semester MA student in Ethnomusicology.
Issues of Federal Policy Influencing Instrumental Music Education: The Move from Reaction to Active Involvement
Joseph W. Ellis
Abstract
Music educators historically have had a limited voice in the creation of educational policy. Music education as a field has remained mostly reactionary toward policymaking in the past. More recently, attempts have been made to integrate music and the arts as a present and active voice in the policy-making process. Conducting a review of literature on topics from the current Race to the Top to A Nation at Risk and No Child Left Behind, this paper brings to light various ways the music education field has responded to policy, and how the field is attempting to become actively involved in the policy process today. Through a selection of sources that view the overarching concept of arts policy-making to authors who center strictly upon music education, emerging results indicate that teacher-training programs in colleges and universities are focusing on policy issues. Otherwise, professional organizations are working to better inform constituencies of practicing teachers about the policy-making process, and how they can be involved during planning.
Bio
Joseph W. Ellis is a doctoral student in the Curriculum and Instruction program at the College of Education, Health, and Human Services of Kent State University. After graduating with a Bachelor of Music Education degree from Mount Union College in 2001, Mr. Ellis continued his education at Walsh University earning a Master of Arts in Education in 2006. During the last decade, he has served as a band director, choir director, general music teacher, elementary principal, and drama teacher working in both the public and religious-based school settings. Mr. Ellis has dedicated his life to learning and continual discovery, especially in the field of music education.
Instrument Selection in School Music Ensembles: Influences and Considerations Effecting Student Interest and Choice
Darren LeBeau
Abstract
The purpose of this literature review is to investigate existing research relating to the influences of musical instrument selection on students in school classrooms. Ensemble directors consider increasing retention, attaining large enrollment numbers, achieving balanced instrumentation and selecting an instrument as integral aspects of musical instrument recruiting. What influences affect students’ when selecting musical instruments and how can an ensemble director assist them in the process? Topics and emerging themes include gender typing of musical instruments, director’s influence, parent and peer influence, personality traits and instrument timbre. Keywords and topics were searched through the database on the university library website from journal finder to dissertation abstracts. Researchers have directed attention to gender stereotyping, physical characteristics, outside influences including band directors and peers as affecting students when choosing an instrument, but instrument timbre emerged as the strongest influence on students when selecting an instrument for study. With all the variables that young students have in their decision process, I hope that this review of literature will help directors assist their students. The review concludes with implications drawn from the body of research and direction for future studies.
Bio
Mr. Darren LeBeau has been in the field of music education since 1989 and with Revere Local Schools since 1998. Mr. LeBeau earned both his Master’s degree and Bachelor’s degree in Music Education from The University of Akron. At Revere, Mr. LeBeau’s primary responsibilities include Wind Ensemble, Symphonic Band, Jazz Band, Pep Band, the Marching Minutemen and assists with the Revere Middle School band program. In addition to his teaching duties, Mr. LeBeau is the Auditorium Supervisor and High School Building Use coordinator. He is actively involved in the Ohio Music Education Association and has participated in the OMEA Leadership Academy. He is an active OMEA Adjudicator for Marching Band, Solo and Ensemble and Large Group Adjudicated events. He has also served OMEA as a host for High School Large Group and Marching Band adjudicated events. His professional memberships include the Revere Education Association, Ohio Education Association, National Education Association, Ohio Music Education Association and Music Educators National Conference.
Alternative Ensembles: Rationales for Implementation in Secondary Instrumental Music Programs
John Owens
Abstract
The purpose of this literature review is to examine the rationales and implementation of alternative ensembles into secondary music programs. This overview illustrates the social, historical, and cultural relevance of implementing alternative ensembles in music education. Research indicates that alternative ensembles provide cultural relevance which assist in the retention of music students. Works reviewed for this research focused on a variety of alternative ensembles that imbedded technology, world music, and popular music into the curriculum. Ensembles include mariachi bands, steel drum bands, Javanese gamelan, guitar ensembles, rock bands, laptop ensembles, and group drumming. Specialized teaching techniques include fiddling, ukulele, Latin marimba, banjo, Native American flute, and bagpipes. Emerging results indicate insights for successfully adding alternative ensembles into the secondary classroom. From this study, music teachers will gain an understanding of the socio-cultural purpose of alternative music ensembles.
Bio
John Owens is an active educator, arranger and performer. He was the director of instrumental music at Page High School, St. Augustine High School, and an adjunct faculty member at Coconino Community College. John received his music education from Fullerton College; California State University San Bernardino (BA-Music); Kent State University (MM-Music Education); and further education from the Armed Forces School of Music. As a performer, John has performed as a percussionist in over 25 countries; he was a percussionist with the US Army Band in Germany, Knott's Berry Farm, and Disneyland. John has written 54 works for various percussion ensembles in the United States and Europe. John is currently pursuing his PhD in Music Education at Kent State University.
Traffic/Light: Post-Cage Discourses on Silence
Bill Sallak
Abstract
This paper addresses compositional uses of silence independent of (or in reaction to) the work of John Cage. Due in large part to the notoriety of 4'33", Cage seems to have the run of the whole playground when it comes to discussions of silence and music, and there are others who use silence toward other important musical ends. The paper discusses the means and ends of silence-usage in the work of Thomas DeLio and Stuart Saunders Smith; along with Cage, they're an interesting triumvirate to examine, not least because they all knew/know each other, and have influenced each other, but their respective compositional outputs are quite individual and distinctive.
Bio
Bill Sallak is Assistant Professor/Dance Music Director in the School of Theatre and Dance at Kent State University. Recently a co-host for the Percussive Arts Society International Conference's Cage Centennial Day, his research has also appeared at the InterMedia Festival, Cleveland IngenuityFest, the World Congress on Dance Research, the Cultura UNAM Festival, the Phoenix Experimental Arts Festival, and the John Donald Robb Composers' Symposium. He holds degrees from SUNY-Fredonia, the University of Akron, and Arizona State University.
Vietnamese Pop Music in Rural America: An Exploration of the Continuance of a Culture in Northeast Ohio
Brittni Roach
Abstract
This presentation examines the role popular music plays in the lives of Vietnamese Americans in Canton and Cleveland, Ohio. Perspectives of “old” and “new” styles of V-pop music are discussed, including differences in rap and rock genres as interpreted by Vietnamese Americans. A review of the maintenance and preservation of V-Pop in these communities leads to an examination of Vietnamese and Vietnamese-American identity in rural America.
Bio
Brittni Roach is the founder and director of the Musical Moments piano and violin studio in Hartville, Ohio. She holds a Bachelor of Music degree in piano performance with a concentration in pedagogy, as well as a minor in violin performance from the University of Mount Union. Brittni is currently pursuing a Master’s of Arts degree in Ethnomusicology. She has been a leading member in the Alliance Symphony, the University of Mount Union Repertory Strings, and Tuscarawas Philharmonic.
Metal Metal Land, Where Men Have Long Hair, Women are in Control and Where Societal Rules of Gender are Broken: An Examination of Masculinity in Heavy Metal Music
Pete Marjenin
Abstract
This presentation offers an examination of the overt masculine characteristics of Heavy Metal music and culture, while at the same time discussing its rebellion against societal concepts of gender. Through field research conducted at various events and information elicited through interviews, this paper will discuss masculine ideologies and their manifestation by both musicians and fans through their actions, aesthetics and musical performances. This paper serves to highlight the perpetuation of Western societal gender stereotypes as well as the dissolution and rebellion against these stereotypes within Heavy Metal.
Bio
Pete Marjenin completed his undergraduate work at Mercyhurst University studying Music and Anthropology, with a special interest in Heavy Metal music and culture. His field research has included performances by Rush, Iron Maiden, Judas Priest, Rammstein, Anthrax, Testament, Black Label Society, Nine Inch Nails, Soulfly, Arkona, Epica, Týr, Korpiklaani, Amon Amarth, Mayhem and numerous others. He is currently an Ethnomusicology graduate student at Kent State University.
The Identity of Fife and Drum Reenactors
Patricia Rolland
Abstract
Drawing from interviews with participants in New England, the Mid-Atlantic states, and Ohio, this presentation looks at the identity of fifers and drummers who participate in battle reenactments. These musicians are a part of two distinct communities – the fife and drum community, and the reenactor community. This presentation will offer the views of fife and drum reenactors from an emic perspective, and compare these views with those of the two communities of which they are a part.
Bio
Patricia Rolland is currently pursuing a Master’s degree in ethnomusicology at Kent State University. She received her Bachelor’s degree from S.U.N.Y. Oswego, and a Master’s in oboe performance from the University of Iowa. In addition to playing the oboe, she is an active fifer. Her main research interest is the marching arts, especially fife and drum.
Chinese Church Music-making: Integration and Adaptation of Chinese Music Traditions in an American Church
Yan Xian
Abstract
This presentation examines the integration and adaptation of Chinese music traditions into the context of American church music-making at the Kent Chinese Friends Church in Kent, Ohio. Potential motivations for changes in music and meaning are offered through comparison of church music-making in China. This leads to a broader review of issues related to the cross-cultural migration of religion and its associated music.
Bio
Yan Xian is a graduate student in ethnomusicology at Kent State University. Xian acquired her bachelor’s degree in musicology at Nanjing University of the Arts, China. Her fieldwork experiences have included the Shanghai’s Christian Sunday Service, as well as Chinese and Cantonese Opera in the southern coastal cities of China. Her current interests include music and culture of Thailand, Christian Church Music, Music Therapy and Jazz Music.
Taiko: A look at Society and Performance
Paul Wetzig
Abstract
This presentation will examine the uses of the Taiko drum in society, and the aspects of performing. Through the account of authorities in the field, we will get an insider look at many uses of Taiko.
Bio
Paul Wetzig earned his Associate of Arts in Music Technology from Shawnee State University, Bachelor of Music in Voice Performance from Kent State University, and is currently studying for his Master of Arts in Ethnomusicology. He is a co-founder of the Southern Ohio Kendo Association, co-founder of the Marshall University kendo club, founder of the Kent State University Kendo Club, and serves as a Club Auditor for the Greater Northeastern United States Kendo Federation and All United States Kendo Federation.
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