Bibliografías temáticas / College-Conservatory of Music of Cincinnati

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Literatura académica sobre el tema "College-Conservatory of Music of Cincinnati"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "College-Conservatory of Music of Cincinnati"

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Ryan, Pamela, and Heidi Castleman. "Advanced Intermediate Chamber Music for Double Bass and Unusual Combinations." American String Teacher 44, no. 2 (1994): 79–80. http://dx.doi.org/10.1177/000313139404400229.

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Pamela Ryan is an associate professor of viola at Florida State University in Tallahassee and in May becomes president of ASTA's Florida state unit. Previously, she taught at Bowling Green State University, Cincinnati College-Conservatory, Brooklyn College, and Aspen Music School. A graduate of the North Carolina School of the Arts, she received her B.M. from the University of Maryland, an M.A. in performance from the Conservatory of Music of Brooklyn College, and a D.M.A. from the Cincinnati College-Conservatory. She was a winning soloist of the Aspen Concerto Competition and has performed wi
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Kirkegaard, Joseph. "University of Cincinnati, College Conservatory of Music." Journal of the Acoustical Society of America 115, no. 5 (2004): 2478. http://dx.doi.org/10.1121/1.4782577.

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Green, Barry. "The Inner Game: Breaking through your Barriers." American String Teacher 36, no. 1 (1986): 41–45. http://dx.doi.org/10.1177/000313138603600121.

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Barry Green has been Principal Bassist with the Cincinnati Symphony since 1967, and is Adjunct Professor of Double Bass at the University of Cincinnati, College-Conservatory of Music. Known for his books on bass pedagogy, his solo albums and premiers of new music for bass, he also presents unique ‘Inner Game’ lectures and entertaining bass recitals throughout the U. S., and in Europe, Asia and Mainland China. Mr. Green's new book, The Inner Game of Music (with Timothy Gallwey), about overcoming the mental obstacles to learning and playing music, has just been published by Doubleday/Anchor Pres
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Hoch, Matthew. "Remembering Barbara Honn: Reflections from Her Students and Colleagues." Journal of Singing 81, no. 3 (2024): 295–309. https://doi.org/10.53830/sing.00096.

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Abstract: In this article, former students and colleagues reflect on the life, career, and impact of Barbara Honn (1944–2023), who passed away August 3, 2023, after a brief illness. After an accomplished career as an operatic soprano, Honn taught at Wichita State University and the University of Texas at Austin before settling into a twenty-five-year career at the University of Cincinnati College-Conservatory of Music. Alumni from her studio are currently singing all over the world and many are active teachers of singing—as well as members of NATS. This article captures the life, pedagogy, per
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Knapke, Jacqueline, John R. Kues, Stephanie M. Schuckman, and Rebecca C. Lee. "3203 Collaboration in Reappointment, Promotion, and Tenure Guidelines." Journal of Clinical and Translational Science 3, s1 (2019): 130–31. http://dx.doi.org/10.1017/cts.2019.297.

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OBJECTIVES/SPECIFIC AIMS: As the issues facing our global society become more complex, university faculty are called upon to address these contemporary problems using interdisciplinary approaches. But do reappointment, promotion, and tenure (RPT) guidelines reflect and reward this fundamental change in the nature of higher education and scholarly inquiry? After collecting all of the RPT guidelines across the university, our research team at the University of Cincinnati (UC) conducted a content analysis of these documents to determine how collaborative work is defined, interpreted, and supporte
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Abbasov, Akif. "THE FAMOUS LIFE OF A MUSICOLOGİST, RENOWNED SCIENTIST AND TEACHER." Scientific Works 92, no. 2 (2025): 19–22. https://doi.org/10.69682/arti.2025.92(2).19-22.

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Nazim Kazim Kazimov is a professor. He previously studied at the Music College under the Azerbaijan National Conservatory (former Azerbaijan Music College named after Asaf Zeynalli). He is currently the director of the college. Later, he graduated from the philological faculty of Baku State University, as well as the Baku Academy of Music. He is a well-known figure in the music industry. This year marks the 75th anniversary of his birth. The article is dedicated to his life. Keywords: music college, national conservatory, music academy, 75th anniversary, tar pl
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Pressley, Margaret, and Rebecca Henry. "A Personal Journey toward Teaching Success." American String Teacher 44, no. 2 (1994): 69–72. http://dx.doi.org/10.1177/000313139404400227.

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Margaret Pressley is well known in the Pacific Northwest as a teacher of gifted pre-college violinists and as an enabler of conservatory-level music education in Seattle. Attending the University of Washington, with a major in violin performance, she chose a career in violin pedagogy, which has spanned 30 years. Pressley has built a highly successful class of continuously prize-winning students, who are eagerly sought by conservatories. She is the founder and director of the Pressley Conservatory of Music in Seattle. Pressley is a lecturer at Western Washington University and is also on the fa
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Zhang, Mengwei. "The Encounter Between Xiao Youmei and Nie Er." Aigne Journal 10 (November 15, 2024): 103–31. https://doi.org/10.33178/aigne.vol10.6.

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Music played a functional role in spreading new ideologies and cultural perspectives from the outset of the establishment of the Republic of China (1912–1949). However, even musicians who shared the aim of modernising the nation and were active in the same locations could differ markedly in their positions, both in their ideas on how to achieve this and in the actions they undertook towards that goal. This article explores the contrasting approaches of two twentieth-century Chinese composers, Xiao Youmei (1884–1940) and Nie Er (1912–1935), toward Western classical music. Xiao, classically trai
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Kotova, Svetlana. "The End of the Conservatory” Pre-conferencia en LIX College Music Society Conference." Átemus, no. 2 (July 5, 2017): 18–19. https://doi.org/10.5354/0719-885x.2016.46490.

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Durante el mes de octubre de 2016 se desarrolló en Santa Fe, Nuevo México, Estados Unidos, la LIX Colle- ge Music Society Conference (Conferencia Nacional de la Sociedad Universitaria de Música), organización profesional que reúne en sus filas a los académicos del área de la música de universidades norteamericanas y extranjeras. Durante la conferencia se presentaron charlas,conciertos, presentaciones, mesas redondas, discusiones y coloquios sobre los más diversos temas relacionados con la innovación, investigación, y el análisis del estado actual de la educación musical a nivel de pre y postgra
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Glushkova, Olga R., and Sergei V. Glushkov. "About the Educational-Pedagogical Work of the Moscow Conservatory in the Pre-Revolutionary Period." ICONI, no. 1 (2019): 54–62. http://dx.doi.org/10.33779/2658-4824.2019.1.054-062.

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The educational activities of the Imperial Russian Musical Society (IRMS) were of indelible significance in the formation of the Russian musical enlightening and educational system. The Moscow Conservatory became one of the greatest achievements of the IRMS, since it concentrated in its image — its spiritual and artistic orientations, administrative and tutorial structure, and pedagogical — the characteristic particularities the development of which subsequently consolidated and elevated its significance in music history. The article examines the questions of the establishment of the tutorial-
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Tesis sobre el tema "College-Conservatory of Music of Cincinnati"

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Vander, Hart Robert Jay. "A history of the Conservatory of Music at Central College (Pella, Iowa), 1900-1930." Thesis, University of Iowa, 1998. https://ir.uiowa.edu/etd/5384.

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Hardin, Gary Joe II. "IN THE DIVISION OF COMPOSITION, MUSICOLOGY, AND THEORY OF THE COLLEGE-CONSERVATORY OF MUSIC." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin960900004.

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Johnson, Brandon Paige. "Elements of excellence: A study of musical and non-musical factors common within non-conservatory college and university choral programs recognized for excellence." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280289.

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This study explores commonalities found within six non-conservatory college/university choral programs recognized for excellence within art of choral performance. The study provides areas of reform for other choral directors in an effort to further develop choral singing in post secondary institutions of the United States. The participating institutions were selected by a survey of their peers and were limited, by category, as delineated by the Carnegie Foundation. The institutions chosen for participation include: Concordia College, St. Olaf College, Northern Arizona University, San Jose Stat
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Vassillière, Christa Theresa. "The Spatial Properties of Music Perception: Differences in Visuo-spatial Performance According to Musicianship and Interference of Musical Structure." Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1340331749.

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Libros sobre el tema "College-Conservatory of Music of Cincinnati"

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Schnurr, Stephen J. Organs of Oberlin: The College Conservatory of Music and its pipe organs. Chauncey Park Press, 2013.

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2

Wilkins, James Richard. The impossible task: A history of Shenandoah College and Conservatory, 1875 to 1985, and the moving and rebuilding of the colleges in Winchester, Virginia, 1955 to 1985 : also a brief history of the Old John Kerr School and early education in the Winchester, Virginia area. J.R. Wilkins, 1985.

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Library, Oberlin College Conservatory of Music. Every Monday morning: A discography of American labor songs in the Conservatory Library at Oberlin College. Oberlin College Library, 1993.

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DesRoches, Michael. Sir Edmund Walker scholarships. s.n., 1990.

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Doering, James M. The Young Educator. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037412.003.0002.

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This chapter discusses how music became an early passion of Judson's, and he showed promise. He studied violin throughout adolescence with a teacher from the Cincinnati Conservatory of Music. After completing high school, his musical skills captured the attention of Ebenezer M. Thresher, a Dayton businessman and chairman of the Board of Trustees for Denison University. Judson remained at Denison for the next seven years (1900–1907), rising to the rank of professor in 1902 and becoming dean of its Conservatory of Music in 1904. By all accounts, he injected “new life” into Denison's musical envi
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Southern Presbyterian College and Con. Southern Presbyterian College and Conservatory of Music Catalog; 1911-1912. Creative Media Partners, LLC, 2021.

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College, Michigan State Normal. Annual Catalog of the Michigan State Normal College and Conservatory of Music: Including Announcements and Registers of Students. Creative Media Partners, LLC, 2021.

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Biennial Calendar of the Ontario Ladies' College and Ontario Conservatory of Music and Art, Whitby, Ont. for the Collegiate Years 1911-12 And 1912-13. Creative Media Partners, LLC, 2021.

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Vail, Lillian Speakman. Achievements in seventy five years of Epsilon Chapter, Sigma Alpha Iota at: Ithaca College. 1986.

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Vail, Lillian Speakman. Achievements in seventy five years of Epsilon Chapter, Sigma Alpha Iota at: Ithaca College. 1986.

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Capítulos de libros sobre el tema "College-Conservatory of Music of Cincinnati"

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Klotz, Kelsey. "Negotiating Jewish Identity in The Gates of Justice." In Dave Brubeck and the Performance of Whiteness. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197525074.003.0006.

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Abstract Chapter 5 focuses on the late 1960s, as the civil rights movement appeared to some to be splintering, and after the Brubeck Quartet officially disbanded. In 1968, Brubeck was commissioned by the Union of American Hebrew Congregations with the College Conservatory of Music at the University of Cincinnati to compose a cantata that would address what many Jewish leaders perceived as the rapidly deteriorating relationship between Black and Jewish communities. The result was The Gates of Justice (1969). This chapter presents musical analysis alongside conversations among Black and Jewish l
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Marlow, Eugene. "Jazz Education in China." In Jazz in China. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0017.

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This chapter first discusses music education in China. The Shanghai Conservatory (Shanghai) and the Central Conservatory (Beijing) are the two dominant music conservatories in China. Changes in music education takes three forms: (1) more Western-style music education; (2) a much greater connection, culturally and musically, to the outside world; and (3) the emergence of music education in jazz at the college level. The chapter then turns to the evolution of jazz education, which has occurred through various phases since its first appearance in Shanghai in the 1920s. But just like the rest of t
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McCutchan, Ann. "Eric Stokes." In The Muse that Sings. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127072.003.0001.

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Abstract Eric Stokes was born and raised in Haddon Heights, New Jersey, and educated at Lawrence College, the New England Conservatory, and the University of Minnesota. From 1961 to 1988 he taught at the University of Minnesota, where he founded the university’s electronic music program and First Minnesota Moving and Storage Warehouse Band, a new music performance group. He was an active proponent of new music in the Twin Cities for more than thirty-five years.
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McCutchan, Ann. "Richard Danielpour." In The Muse that Sings. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127072.003.0022.

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Abstract Richard Danielpour was born in New York City and grew up in New York and West Palm Beach, Florida. He received his professional training at Oberlin College, the New England Conservatory of Music, a he Juilliard School. His composition teachers included Vincent Persichetti and Peter Mennin, and he studied piano with Lorin Hollander, Theodore Lettvin, and Gabriel Chodos. Danielpour also acknowledges the influence of Leonard Bernstein on his music and his outlook on musical life.
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Van Maanen, Cynthia. "Preparing Young Composers for Collegiate Study." In The Oxford Handbook of Music Composition Pedagogy. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780197574874.013.25.

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Abstract This chapter focuses on the many skills students need to develop that will prepare them for collegiate study in music composition. Topics will include an exploration of what gets in the way of skill growth, how to develop the daily discipline required to practice the compositional craft, how score study can contribute to the evolution of stronger artists, and the challenges young composers face along with the strengths they already possess. The topic of college/conservatory applications will be considered as a lens for developing creative musical artists who are knowledgeable, passion
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McCutchan, Ann. "Bright Sheng." In The Muse that Sings. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127072.003.0021.

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Abstract Bright Sheng was born in Shanghai, China, and started piano studies with his mother at the age of four. His adolescence coincided with the Chinese Cultural Revolution (1966-76), during which he was sent to the country for a rural education. After the fall of Mao Tse-Tung’s regime, Sheng earned a degree in composition at Shanghai Conservatory of Music, and in 1982 he moved to New York, where he attended Queens College, CUNY, and Columbia University. Among his teachers were Leonard Bernstein, Chou Wen-chung, Mario Davidovsky, George Perle, and Hugo Weisgall.
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Haroutounian, Joanne. "The Flame: Teenage Years." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0022.

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Close to a dozen years have gone by and we find ourselves seated on folding chairs enjoying the final recital of a private studio of talented piano students. Each year there are a few new eager faces as the younger students deftly work through pieces that seem very complex for such little fingers to play so quickly. We notice the students who have been seasoned through training, now in those tenuous intermediate years. Their intense desire for precision shows maturing musical ideas, but often arrives at awkward adolescence when being on stage has an added gravity of meaning. We search for the
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Actas de conferencias sobre el tema "College-Conservatory of Music of Cincinnati"

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O' Connor, Rachel, and Puo (Roger) Wu Fu. "Musical instrument, personality and interpretation: Music cognition at a college-conservatory." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0011.

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