The P[reparing]F[uture]F[aculty] Speakers Series, sponsored by the Arizona State University Graduate College, brings faculty to campus to speak about their careers. These two speakers, Paul Lehman, from the University of Michigan, and Jere Humphreys, from Arizona State University, are well-known experts in their respective fields. Both and university music faculty and spoke at ASU on April 21, 1995.

Professor Lehman begins by discussing teaching in general, then talks about the role of technology in teaching, discusses the relationship between higher education and K-12 education, and ends with some observations on teaching in higher education.

Professor Humphreys then offers some practical tips on securing a faculty position in music at a college. He outlines the process colleges use to select new faculty members, what colleges look for in candidates, and what steps applicants should take in applying for a position.

Music has consistently been documented as a manner to bring people together across cultures throughout the world. In this research, we propose that people use similar musical tastes as a strong sign of potential social connection. To investigate this notion, we draw on literature examining how music merges the public/private self, the link to personality, and group identity, as well as how it is linked to romantic relationships. Thus, music can be a tool when wanting to get to know someone else and/or forge a platonic relationship. To test this hypothesis, we designed an experiment comparing music relative to another commonality (sharing a sports team in common) to see which factor is stronger in triggering an online social connection. We argue that people believe they have more in common with someone who shares similar music taste compared to other commonalities. We discuss implications for marketers on music streaming platforms.

From Marathon to Athens was inspired by the legend of Pheidippides, a Greek messenger who ran approximately twenty-six miles between the cities of Marathon and Athens in ancient Greece to deliver an important wartime message. According to the legend, he died shortly after completing the journey. The marathon races of today were inspired by his story, though it may be more myth than reality. There is a great deal of inherent drama in the undertaking of such a feat, whether it be a marathon or any other test of strength and endurance. There is the rush of adrenaline when it begins, followed by the excitement and exhilaration of the first few miles. Then, there is a period of settling in and finding a groove - when the runner realizes that there is a long way to go, but is determined to pace him or herself and stay strong. All too often, there is the "wall" that appears about three-quarters of the way through, when it seems that there is no strength left to finish the race. Finally, there is the final push to the finish line - where the runner decides that they are going to make it, in spite of fatigue, pain, or any other obstacle. In this piece, I used a simple melody that was very loosely modeled after a melody from ancient Greece (the tune inscribed on the Epitaph of Seikilos). I used both Phrygian and Dorian modes, which, according to Plato, were most appropriate for soldiers. Throughout the piece, I used different instruments, mostly percussion, to represent the heartbeat of the runner. In the legend, the runner dies - in the piece, the heartbeat becomes very fast and then rather erratic. It then slows and, finally, stops. Though I find the story of Pheidippides inspiring, I wish all marathon runners and athletes of every kind (myself included) a safer and happier outcome!

The English Renaissance anthem Christ rising again is a valuable addition to the study of sacred English music during the first one hundred years of the English Reformation (c. 1530s-c.1630s) and provides insight into the theological and musical perspective of English reformers, humanists, and composers. The text of Christ rising again is the only anthem text that was set by the following prominent composers active during the English Reformation: John Sheppard (c.1515-1563), Christopher Tye (c.1505-1573), Thomas Tallis (c. 1505-1585), William Byrd (c.1540-1623), and Thomas Tomkins (1572-1656), as well as an unfinished setting by Thomas Weelkes (c.1576-1623) as well as complete settings by less prominent English composers. The anthem's text and musical settings are analyzed in terms of their place within the liturgical services of the Church of England, context within the ceremonies surrounding the Easter sepulchre, theological interpretation of the scriptural passages that comprise the anthem's text by Renaissance humanists and theologians, and performance forces available to composers. This study found that the anthem was an integral part of the Easter sepulchre procession during the first English version of the Easter Matins service found in the 1549 Book of Common Prayer. Its function later changed as the sepulchre procession was eliminated from the 1552 revised version of the Book of Common Prayer and the anthem was moved to later within the Easter Morning Prayer service. Analysis of various commentaries and interpretations by contemporary theologians and humanists who influenced the English Reformation is provided to demonstrate the interpretation and meaning associated with specific musical settings by various composers. Finally, an examination of Renaissance English performing forces is provided, particularly centered on the institutions of the Chapel Royal and Lincoln Cathedral, both significant institutions that employed prominent English composers during the examined era.

The purpose of this project was to provide a pedagogical resource for students and teachers to utilize when preparing six standard formative pieces from the euphonium repertoire. The guided practice sections are written in plain English with several instances of first person writing to explain certain concepts in a less formal way. This was done so that any teacher, regardless of level could help a younger, more inexperienced student. In addition, the sections of guided practice were written to help those teachers who may or may not be intimately familiar with the works chosen. The recording was designed to present the music in current published format, with no improvisation by the soloist. The solos that were chosen are either college preparatory pieces, or formative works for the younger collegiate musician. All of the pieces included are published, and as of September 2010, available for purchase. The works included are: Six Studies in English Folk Song, by Ralph Vaughan Williams, ed. Paul Droste, Introduction and Dance, by J. Edouard Barat, ed. Glenn Smith, Andante et Allegro, by Joseph- Guy Ropartz, ed. Shapiro, Sonata for Unaccompanied Euphonium (or Trombone), by Fred L. Clinard, Jr., Suite for Baritone, by Don Haddad, and Andante and Rondo, by Antonio Capuzzi, ed. Philip Catelinet.

John La Montaine (b. 1920) has devoted his life to music composition. His major works total 62 opus numbers, including operas, concertos, songs, chamber music, and orchestral works as well as eleven compositions for solo piano. Among his composition teachers were Nadia Boulanger and Howard Hanson, and his first piano concerto was awarded the 1959 Pulitzer Prize for Music. He was active also as a concert soloist and collaborative pianist, appearing on prestigious concert series and with first-rank orchestras. Despite his obvious success, La Montaine did not seek publicity. As a result, the majority of his music is not widely known. La Montaine's eleven compositions for solo piano are written in a wide variety of styles, from tonal to serial, with many based on a tonal center, and they range in difficulty from the easiest beginner pieces to challenging concert works. His elementary works include a set of easy canons and many small pieces written for an early piano method. An imaginative set of children's pieces and a small virtuoso étude challenge the intermediate pianist. A diverse range of works for the advanced pianist includes a serious sonata, a lively toccata, several contrapuntal works, lilting dance pieces, and unique smaller pieces. The recording included with this research project is the first to present La Montaine's complete works for solo piano. The composer's own recordings of many of his works are difficult to obtain, and only a few have been recorded commercially. While some of his works remain in publishers' catalogs, those which are out-of-print can be obtained via interlibrary loan. This recording and discussion of La Montaine's solo piano pieces are intended to make his work better known.

The focus of this in-depth study is to look at the gestation, performance history, and reception of Giacomo Puccini's evening of three one-act operas called Il Trittico and differentiate the particular components, Il Tabarro, Suor Angelica, and Gianni Schicchi to analyze them for their individual stylistic elements of Italian Opera. These were the styles of verismo, pathos and sentimentality, and opera buffa. As substantiated by written criticism, the audience and the critics did not fully comprehend the hidden meaning behind the individual works of Il Trittico. Puccini, enigmatically, had chosen to present one last glimpse of outmoded Italian operatic traditions. In order to evaluate Il Trittico's importance in the history of Italian opera, this study will first review the musically changing landscape in Italy during the early to mid-nineteenth century, then the second part of the nineteenth and beginning of the twentieth-century when German, French, and eventually Russian music were starting to influence audience taste. Puccini who, over the course of his compositional life, absorbed and incorporated these different styles realized that long held Italian operatic tradition had reached a fork in the road. One path would ensure Italian composers a place in this new order and the other a stagnant dead end.

Even though Puccini's triptych garnered primarily negative reviews, the basis for this negativity was the perception that Il Trittico had broken with the historically traditional Italian musical styles. Though the present study acknowledges that break to a degree, it will also present a historically based rationale for the deviation, one left largely unnoticed by Puccini's critics. In the end, this author plans to realize their symbolic importance as a farewell to three uniquely Italian styles and a departure point for a new operatic tradition. Looking forward to the centenary of the work, this author seeks to illuminate how Puccini reached the pinnacle of firmly rooted genres of Italian opera. Ultimately this might help to unravel the enigma of Il Trittico while it continues to secure its rightful place as one of the masterpieces of the Puccini canon.

Department chairs or school directors, as the bridge between administration and faculty, and closely associated with the teaching and learning at the heart of the institution, hold very important roles in the departments or schools they oversee. Many chairs and department administrators in music schools and departments are selected from the faculty of the department and asked to serve as the chief administrator. They assume a set of duties that, to that point, have been beyond the purview of their academic training and professional experience--particularly for those with training in the performance disciplines. While usually successful as teachers, these new chairs and department heads face a difficult transition into administrative work because the skills required for an effective administrator are very different from those necessary to be an effective teacher.

The purpose of this research was to ascertain the knowledge and skills that would be most practical for individuals aspiring to administrative or leadership roles in schools or departments of music, and to design a doctoral cognate that would supply that knowledge. The author reviewed the available research into administrative training for individuals pursuing administrative work in schools and departments of music. Interviews were then conducted with current or former music administrators from across the United States, inquiring about their experiences as administrators, any administrative training they received, and the types of things they wished they had known when first working in an administrative capacity. The author used this information to make recommendations concerning the creation of a doctoral cognate in administration for graduate students preparing to become music faculty so that they are equipped to undertake administrative responsibilities.

The resulting cognate area consists of four courses: a course in finance, budgeting, and development; a course on organizational structure and behavior; a course on management and leadership theory; and a practicum or independent study in administration, in which students spend time observing and shadowing their department administrator(s) to apply the principles learned in the previous three courses.

Biblical references play an important role in traditional programmatic music. Composers such as Kuhnau, Haydn, Liszt, Messiaen, and Bolcom produced considerable amounts of piano repertoire with biblical allusions: Musical Presentations of Some Biblical Stories in 6 Sonatas (1700) by Kuhnau, The Seven Last Words from Our Saviour on the Cross (1787) by Haydn, The Way of Cross (1878-1879) by Liszt, Twenty Contemplations on the Infant Jesus (1944) by Messiaen, and The Garden of Eden: Four Rags for Piano (1969) by Bolcom. The twentieth century American composers William Bergsma and Louis Weingarden participated in this tradition by producing piano pieces that contain direct biblical quotations. These works, which have received little attention, include two movements from Tangents (1951) by Bergsma and Triptych: Three Pieces for Piano (1969) by Weingarden.

This paper provides a comprehensive analysis of these piano works, considering structural, rhythmic, harmonic, and melodic elements. In particular, the paper examines Bergsma and Weingarden’s work through the technique of word painting in order to illuminate the relationship between the biblical text and music. Key findings include that Bergsma’s Tangents contains dissonant harmonies and irregular rhythms to reflect the agony of people on the biblical Judgement day, while the use of tonality reflects God’s love in other parts. Similarly, Weingarden uses an illustrative style of word painting in Triptych to closely reflect this biblical narrative and scene through the combination of some twelve-tone techniques with chromaticism. These works present a high degree of pianistic and musical elaboration that incorporates twentieth-century compositional techniques, and this paper argues that they merit more attention for recitals by college-level and professional pianists. This paper begins with an introduction which provides the methodological approach used in the paper and a biography of each composer. It then progresses to an analysis of Bergsma’s Tangents, followed by an analysis of Weingarden’s Triptych.

In 1975 the Canadian Broadcasting Company (CBC) invited John Cage to write a composition for the bicentennial birthday of the United States. The result was Lecture on the Weather, a multi-media work for twelve expatriate vocalists and/or players with independent sound systems, magnetic tape, and film. Cage used texts by Henry David Thoreau, recordings of environmental sounds made by American composer Maryanne Amacher and a nature-inspired film by Chilean visual artist Luis Frangella. The composition opens with a spoken Preface and is arguably one of Cage’s most overtly political pieces. A year later the National Endowment of the Arts (NEA) and six major United States orchestras commissioned Cage to compose another work commemorating the United States bicentennial of the American Revolution. In response, he created Renga with Apartment House 1776, which follows his concept of a “music circus,” or simply, a musical composition with a multiplicity of events occurring simultaneously. Scored for voices, instrumental soloists and quartets, Renga with Apartment House is a multi-faceted work marked by layers of American hymns and folk tunes.

Cage’s United States Bicentennial compositions – and his other pieces created in the 1970s and 1980s – have received little attention from music scholars. Unique and provocative works within his oeuvre, these compositions raise many questions. Why was Cage commissioned to write these works? How did Cage pay tribute to this celebratory event in American history? What socio–political meanings are implied in these pieces? In this thesis I will provide political, cultural, and biographical contexts of these works. I will further examine their genesis, analyze their scores and selected performances, reflect on their meaning and critical implications and consider the reception of these works. My research draws on unpublished documents housed in the CBC’s archives at McGill University, the archives of C. F. Peters, the New York Public Library and it builds on research of such scholars as David W. Bernstein, William Brooks, Benjamin Piekut, and Christopher Shultis. This thesis offers new information and perspectives on Cage’s creative work in the 1970s and aims at filling a significant gap in Cage scholarship.