By clicking on the MATX Program Portfolio header arrow you will have access to a selection of unpublished papers that I have written within the past two years. However, the content within them is not to be used for citations nor published in any form. The first selection, “Musical Notation, Music Performance and Technology: A Long Term Synergistic Relationship”, was written for MATX 602 – History of Media, Art & Text: Memory and the Archive with Dr. Rhee. The intent of this paper was to render a historical narrative that demonstrated the dynamics of the coexistence of musical performance and musical notation, how they have influenced and stimulated one another in Western music beginning in Greek and Jewish traditions known as antiquity, proceeding to contemporary situations. “Musicology Meets Queer Theory and Good Things Happen” was written for GSWS 620- Theorizing Sexuality with Dr. Beam during the 2015 fall semester. The first goal of this research project was to establish an introductory descriptive historical narrative of queer musicological scholarship. Additionally I assessed and described the contributions of some prominent queer musicologists within the discipline’s scholarly discourse while also explaining what queer musicological scholars bring to the arena of musicological scholarship, queer theory and pedagogy/education.
The following papers were the outcomes of several independent studies. While working with Dr. Weaver-Williams during the 2015 fall semester (MATX -791 –Feminist Theology), I wrote “Contemplating Musical Experience for Women in Prehistory”. In this paper I synthesized perspectives concerning prehistory from the work of anthropologists, ethnomusicologists, archeologists, musicologists and religious studies scholars in order to flesh out what a musical scenario in prehistory might entail. An important aspect of this research paper was presenting the work of Robin Sylvan, who emphasizes the power that music wields in being able to transform our experiences and argues that there are important musical dimensions to religion and important religious dimensions to music, into the mix. The term “sonic theology” was coined by Guy Beck and his theoretical work has impacted how I think about the possible musical experiences of women. “Requisite Savvy: It’s What Could Help Women Navigate through the Social Constructs of Music School” was written while working with Dr. Goldie in the 2015 fall semester. The aim of this project was to offer insights and resource materials to female- gendered music students that are pragmatic, to possibly ameliorate the inherent distress in navigating the challenges embedded in collegiate music matriculation. Broadly speaking, the intention of this project was attempting a preemptive mentoring via a written text. This paper was accompanied by resource guides that I produced which consisted of a roster of websites, a list of musical repertoire by women for elementary through collegiate level ensembles, and a paradigmatic poster of women in music which is included here.