Matching Items (18)
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Description
The organ in the Catholic Church of the United States is a mirror of its time, reflecting the various challenges facing Catholic liturgy today. In some cases, it reflects the rich patrimony of European immigrants, anxious to replicate the liturgical conditions they left behind. In others, it reflects the efforts of liturgical reformers to "update" the liturgy, creating more opportunities for what they understand to be active participation of the faithful. The absence of the organ in some American Catholic churches, particularly, in the time following the liturgical reforms of Vatican II, raises questions on the direction of sacred music in these churches as well as the survival and viability of the organ as the principal musical instrument of the Catholic liturgy. In all, the organ in American Catholic churches serves as a gauge of the current liturgical climate, and, in a broader sense, the direction and viability of the Catholic Church in America. In this paper, I argue that the survival of the organ in American Catholic churches depends largely on the number of Catholics who continue to remain active in the Church, as well as their views on liturgy, and their musical formation. While recent figures indicate a gradual decline in membership in the Catholic Church among younger generations, interest in organ and traditional Catholic sacred music by some Catholics may ensure the organ's continued presence. The extent to which some groups implement liturgical directives of Pope Benedict XVI, and the activities of groups that support traditional Roman Catholic liturgy, play a role in the organ's continued survival. Also crucial are those who support the organ for its own artistic and musical merit, including contemporary composers of liturgical organ music, organ students in Catholic higher education programs, and organ builders. As opposed to total extinction, the use of the organ in American Catholic churches may take on a new shape, surrounded by a church that struggles to reconcile modern culture with the transcendent.
ContributorsHart, Skye (Author) / Marshall, Kimberly A. (Thesis advisor) / Koonce, Frank W. (Committee member) / Ryan, Russell R. (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2010
ContributorsMarshall, Kimberly (Performer) / Olsen, Katy (Performer) / Lewis, Erin (Performer) / Snavley, Ashley (Performer) / Hutten, Christina (Performer) / Sung, Anna (Performer) / Bogart, Matthew (Performer) / Hawkins, Patrick (Performer) / Holton, Kristin (Performer) / Hart, Skye (Performer) / Howard, Devon (Performer) / ASU Library. Music Library (Publisher)
Created2007-12-09
ContributorsHart, Skye (Performer) / ASU Library. Music Library (Publisher)
Created2016-02-21
ContributorsHofeling, Jacob (Performer) / Holm, Melanie (Performer) / Marshall, Kimberly (Performer) / Kubiaczyk-Adler, Ilona (Performer) / Whitten, Emma (Performer) / Hart, Skye (Performer) / ASU Library. Music Library (Publisher)
Created2014-12-06
ContributorsHofeling, Jacob (Performer) / Holm, Melanie (Performer) / Marshall, Kimberly (Performer) / Kubiaczyk-Adler, Ilona (Performer) / Whitten, Emma (Performer) / Hart, Skye (Performer) / ASU Library. Music Library (Publisher)
Created2014-12-07
ContributorsHofeling, Jacob (Performer) / Holm, Melanie (Performer) / Marshall, Kimberly (Performer) / Kubiaczyk-Adler, Ilona (Performer) / Whitten, Emma (Performer) / Hart, Skye (Performer) / ASU Library. Music Library (Publisher)
Created2014-12-07
ContributorsHofeling, Jacob (Performer) / Holm, Melanie (Performer) / Marshall, Kimberly (Performer) / Kubiaczyk-Adler, Ilona (Performer) / Whitten, Emma (Performer) / Hart, Skye (Performer) / ASU Library. Music Library (Publisher)
Created2014-12-06
Description
Bob Francis grew up in Yuma, Arizona and graduated from ASU. After spending a year teaching high school in Yuma, he returned to ASU in 1970, starting in the Alumni Association. After a few years, he moved to the Office of Undergraduate Admissions where he spent most of his career. He retired in 2002.
Important / interesting parts of the interview include:
• The beginning of the Office of Undergraduate Admissions in Part 2
• The changing attitude about the role of the University in marketing itself to students and parents in Part 3
• The role of the Devils’ Advocates played in selling the University in Part 4
• The role Don Dotts and Christine Kajikawa Wilkinson played in Bob’s career in Part 6
ContributorsFrancis, Robert (Bob) (Interviewee) / Mason, Marilyn (Interviewer) / Scheatzle, David (Interviewer) / Arizona State University Retirees Association (Producer)
Created2014-04-17
ContributorsMarshall, Kimberly (Performer) / Olsen, Katy (Performer) / Lewis, Erin (Performer) / Snavley, Ashley (Performer) / Hutten, Christina (Performer) / Sung, Anna (Performer) / Bogart, Matthew (Performer) / Hawkins, Patrick (Performer) / Holton, Kristin (Performer) / Hart, Skye (Performer) / Howard, Devon (Performer) / ASU Library. Music Library (Publisher)
Created2007-12-09
Description
Derived from the Greek word soma, meaning body, somatics is a field of movement methodologies designed to promote a greater sense of physical self-awareness through kinesthetic learning. Gaga Movement Language and Bartenieff Fundamentals, two methodologies based on somatic principles, offer unique processes to develop an individual’s movement vocabulary. By synthesizing Gaga Movement Language and Bartenieff Fundamentals with vocal pedagogy and vocal repertoire, singers can develop a kinesthetic awareness of their vocal technique that informs their artistic expression, movement vocabulary, and performance ability.
This paper presents a model for a Voice Somatics Integration Lab (VSI Lab), geared toward voice performance majors and designed to bridge the gap between Gaga Movement Language, Bartenieff Fundamentals, and vocal pedagogy. The course will culminate in a performance of a song or aria that students have selected, staged, and choreographed in accordance with the lab curriculum, along with a brief three-to-five-minute presentation detailing their choreographic process. Complete with a detailed syllabus and lesson plans, the course will use movement philosophies and techniques to guide each student in developing their pieces. Ultimately, the VSI Lab will assist singers in more effectively blending the physical demands of staging and choreography with their singing technique and artistry.
This paper presents a model for a Voice Somatics Integration Lab (VSI Lab), geared toward voice performance majors and designed to bridge the gap between Gaga Movement Language, Bartenieff Fundamentals, and vocal pedagogy. The course will culminate in a performance of a song or aria that students have selected, staged, and choreographed in accordance with the lab curriculum, along with a brief three-to-five-minute presentation detailing their choreographic process. Complete with a detailed syllabus and lesson plans, the course will use movement philosophies and techniques to guide each student in developing their pieces. Ultimately, the VSI Lab will assist singers in more effectively blending the physical demands of staging and choreography with their singing technique and artistry.
ContributorsHolm, Melanie (Author) / Weiss, Stephanie (Thesis advisor) / Dreyfoos, Dale (Committee member) / Knowles, Kristina (Committee member) / Mills, Robert (Committee member) / Arizona State University (Publisher)
Created2020