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Journal articles on the topic 'College of Music of Cincinnati'

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Published: 25 July 2024

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1

Kirkegaard, Joseph. "University of Cincinnati, College Conservatory of Music." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2478. http://dx.doi.org/10.1121/1.4782577.

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2

Ryan, Pamela, and Heidi Castleman. "Advanced Intermediate Chamber Music for Double Bass and Unusual Combinations." American String Teacher 44, no. 2 (May 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 with the Bowling Green String Quartet at Carnegie Hall and in Mexico City. Recently, she has performed on chamber music radio broadcasts in New Orleans and with the Louisiana Philharmonic. She now serves as principal violist of the Tallahassee Symphony Orchestra.
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3

Green, Barry. "The Inner Game: Breaking through your Barriers." American String Teacher 36, no. 1 (February 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 Press.
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4

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 (March 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 supported. In addition, we also sought to identify differences in how collaborative work is valued across disciplines and how that value has changed over time. METHODS/STUDY POPULATION: An initial database was assembled that included two distinct data samples: historical and current. Both included RPT criteria for over 100 disciplinary units at the university. Working with the initial comprehensive database, the team narrowed content by selecting all language related to collaborative work using several relevant keywords or keyword fragments (team, collaborat[*], disciplin[*], and interprofessional). This process resulted in a subset of data reflecting the area of interest that could then be coded. Three investigators independently coded common portions of the data for categories. The investigators met regularly to compare the results of their coding, and discrepancies between the investigators’ coding schemes were resolved through discussion. The final, common coding scheme will used to code the remainder of the data by each independent investigator. The team meets weekly to discuss significant passages and assign codes, and then reach consensus related to important themes that are identified. Specifically, we will examine the frequency with which collaborative activities are included, the value and emphasis given to them, and the differences across units. Having a historical sample and a current sample also allows us to analyze trends over time and further compare disciplinary differences. RESULTS/ANTICIPATED RESULTS: UC is a diverse institution that includes world-renowned creative schools (the College Conservatory of Music and the College of Design, Architecture, Art, and Planning), as well as traditional colleges of medicine, nursing, pharmacy, allied health, engineering, business, arts and sciences, etc. UC also includes two branch campuses that specialize in associate’s degree level education. Given the diversity in educational and research missions across these areas, we anticipate discovering several themes within the RPT guidelines, primarily centered around the traditional foundations of faculty work such as service, research, and teaching. We anticipate strong differences by college and disciplinary focus, with emphasis on collaborative work and engagement increasing as RPT guidelines become more current. DISCUSSION/SIGNIFICANCE OF IMPACT: Our experience is that faculty members want to engage in collaborative work when possible and appropriate, but their perception is that independent contributions to their field are more highly valued than interdisciplinary work. As universities rush to endorse and promote interdisciplinary, team-oriented research and teaching, this study will afford a better understanding of the types of activities valued at one large and diverse urban institution, grounded in the actual language of RPT criteria.
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5

Banks, Paul. "A Cincinnati Correction." Musical Times 130, no. 1758 (August 1989): 451. http://dx.doi.org/10.2307/1193595.

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6

Peña, Alberto. "Alberto Peña, MD, FAAP, FACS, FRCS (England), FRCS (Edinburgh)." Revista Ecuatoriana de Pediatría 23, no. 4 (February 3, 2023): 1–34. http://dx.doi.org/10.52011/189.

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ACADEMIC TITLE AND ADDRESSClinical Professor of Surgery. University of Cincinnati College of MedicineFounder Director Colorectal Center for ChildrenCincinnati Children’s Hospital Medical CenterUniversity of Cincinnati College of MedicineDivision of Pediatric Surgery, ML 2023, 3333 Burnet Avenue, Cincinnati, Ohio 45229Phone (513) 636-3240, Fax: (513) 636-3248, Mobile : (513) 8072353 e-mail:alberto.pena@cchmc.org
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7

Baker, Pamela L., and Philip Diller. "University of Cincinnati College of Medicine." Academic Medicine 95, no. 9S (September 2020): S406—S409. http://dx.doi.org/10.1097/acm.0000000000003325.

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8

Gunderson, Anne, and Andrew T. Filak. "University of Cincinnati College of Medicine." Academic Medicine 85 (September 2010): S460—S463. http://dx.doi.org/10.1097/acm.0b013e3181ea38b0.

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9

FILAK, ANDREW T. "University of Cincinnati College of Medicine." Academic Medicine 75, Supplement (September 2000): S287—S290. http://dx.doi.org/10.1097/00001888-200009001-00083.

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10

Gothelf, Elizabeth, E. Gordon Margolin, and Gregg A. Warshaw. "University of Cincinnati College of Medicine." Academic Medicine 79, Supplement (July 2004): S25—S27. http://dx.doi.org/10.1097/00001888-200407001-00010.

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11

Matthews, Jeffrey B. "The Department of Surgery at the University of Cincinnati College of Medicine, Cincinnati, Ohio." Archives of Surgery 140, no. 3 (March 1, 2005): 227. http://dx.doi.org/10.1001/archsurg.140.3.227.

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12

HELMUTH, MARA. "Virtual musical performance and improvisation on Internet2." Organised Sound 10, no. 3 (November 29, 2005): 201–7. http://dx.doi.org/10.1017/s1355771805000944.

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Several projects involving audio and video transmission between the University of Cincinnati and other sites over the high bandwidth Internet2 have ranged from the simple transmission of video material, to more complex interactive improvisation. A performance of Clotho, the life of Camille Claudel, a musical monodrama collaboration, was streamed in September 2000 over Internet2 to a widely distributed audience. The second project involved my real-time contribution from Cincinnati to a performance happening at Yale University of The Ankle Diver, with music by Matthew Suttor. A network improvisation project with the Soundmesh (formerly Internet Sound Exchange) software resulted in a number of improvisations involving the University of Cincinnati, Columbia University, Yale University and the Fall Internet2 Meeting at the University of Southern California. High-quality audio and flexibility of sound sources and processing is a strength of these improvisations.
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13

Berger, Michael. "Feature: Developing a Writing Across the Curriculum Program for a Two-Year Nursing College." Teaching English in the Two-Year College 42, no. 4 (May 1, 2015): 400–409. http://dx.doi.org/10.58680/tetyc201527236.

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14

Ahlquist, Karen. "Playing for the Big Time: Musicians, Concerts, and Reputation-Building in Cincinnati, 1872–82." Journal of the Gilded Age and Progressive Era 9, no. 2 (April 2010): 145–65. http://dx.doi.org/10.1017/s1537781400003911.

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Like many midwestern cities in the nineteenth century, Cincinnati, Ohio, was home to large numbers of German immigrant musicians, among them the founders of the Cincinnati Grand Orchestra in 1872. Their model of musician-based organization eventually ran counter to the prestige-building potential of Western art music, which made it attractive to local civic leaders determined to earn respect for their city at a national level. The successful Cincinnati May festivals beginning in 1873 under the artistic leadership of conductor Theodore Thomas brought the city the desired renown. But the musical monumentality needed for large festival performances could not be obtained locally, leaving Cincinnati's players with opportunities to perform at a high level but without a way to define their performance as a significant achievement in the world of high art. Although their orchestra was ultimately unsuccessful, however, these musicians demonstrated an agency that transcends their historical obscurity and helps incorporate aesthetic and practical aspects of institution-building into the social arguments common to discussions of Western art music in the United States.
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15

Kusmana, Kusmana. "Menelusuri Kemunculan, Perkembangan dan Kehancuran "Tradisi Yahudi Islam"." Refleksi 2, no. 2 (January 22, 2020): 72–76. http://dx.doi.org/10.15408/ref.v2i2.14329.

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16

Tan, Jane, Shiou-Liang Wee, Pei Shi Yeo, Juliet Choo, Michele Ritholz, and Philip Yap. "A new music therapy engagement scale for persons with dementia." International Psychogeriatrics 31, no. 1 (May 25, 2018): 49–58. http://dx.doi.org/10.1017/s1041610218000509.

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ABSTRACTObjectives:To develop and validate a new scale to assess music therapy engagement in persons with dementia (PWDs).Design:A draft scale was derived from literature review and >2 years of qualitative recording of PWDs during music therapy. Content validity was attained through iterative consultations, trial sessions, and revisions. The final five-item Music Therapy Engagement scale for Dementia (MTED) assessed music and non-music related elements. Internal consistency and inter-rater reliability were assessed over 120 music therapy sessions. MTED was validated with the Greater Cincinnati Chapter Well-being Observation Tool, Holden Communication Scale, and Participant Engagement Observation Checklist – Music Sessions.Setting and participants:A total of 62 PWDs (83.2 ± 7.7 years, modified version of the mini-mental state examination = 13.2/30 ± 4.1) in an acute hospital dementia unit were involved.Results:The mean MTED score was 13.02/30 ± 4.27; internal consistency (Cronbach's α = 0.87) and inter-rater reliability (intra-class correlation = 0.96) were good. Principal component analysis revealed a one-factor structure with Eigen value > 1 (3.27), which explained 65.4% of the variance. MTED demonstrated good construct validity. The MTED total score correlated strongly with the combined items comprising Pleasure, Interest, Sadness, and Sustained attention of the Greater Cincinnati Chapter Well-being Observation Tool (rs = 0.88, p < 0.001).Conclusions:MTED is a clinically appropriate and psychometrically valid scale to evaluate music therapy engagement in PWDs.
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17

Lewis, Jaime D., Timothy A. Pritts, Alex B. Lentsch, and Michael J. Edwards. "The University of Cincinnati College of Medicine Department of Surgery." American Surgeon 75, no. 2 (February 2009): 113–19. http://dx.doi.org/10.1177/000313480907500202.

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18

Pogue, Samuel F., and Robert C. Vitz. "The Queen and the Arts: Cultural Life in Nineteenth-Century Cincinnati." American Music 9, no. 3 (1991): 314. http://dx.doi.org/10.2307/3051435.

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19

Carlsen, James C. "“The Need to Know”: 1994 Senior Researcher Award Acceptance Address." Journal of Research in Music Education 42, no. 3 (October 1994): 181–89. http://dx.doi.org/10.2307/3345698.

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James C. Carlsen is the recipient of the MENC 1994 Senior Researcher Award. The following speech was presented on April 8, 1994, at a special session of the Society for Research in Music Education at MENC's National Biennial In-Service Conference held in Cincinnati, Ohio.
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20

Vitz, Robert C. ""Im wunderschonen Monat Mai": Organizing the Great Cincinnati May Festival of 1878." American Music 4, no. 3 (1986): 309. http://dx.doi.org/10.2307/3051613.

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21

Aschoff, Peter R., and Steven C. Tracy. "Going to Cincinnati: A History of the Blues in the Queen City." American Music 13, no. 4 (1995): 509. http://dx.doi.org/10.2307/3052412.

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22

LeBlanc, Albert. "Organizing College Music Courses." Music Educators Journal 75, no. 8 (April 1989): 31–34. http://dx.doi.org/10.2307/3400294.

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23

Woods, David. "The College Music Society." International Journal of Music Education os-10, no. 1 (November 1987): 71. http://dx.doi.org/10.1177/025576148701000134.

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24

Cox, John L. "Royal College Music Society." Psychiatric Bulletin 24, no. 6 (June 2000): 236. http://dx.doi.org/10.1192/pb.24.6.236-b.

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25

Stein, Robert. "New York, Carnegie Hall: Sallinen's Eighth Symphony." Tempo 59, no. 233 (June 21, 2005): 52. http://dx.doi.org/10.1017/s0040298205220235.

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Aulis Sallinen's symphonies are predictably always compared with those of his compatriot Sibelius. The Cincinnati SO's American première of his latest — the Eighth — in January, just nine months after its world première — Paavo Järvi conducted both performances — hardly made it easy for the listener to shake off such ancestral thoughts, as it was programmed alongside Sibelius's own Fifth. Whereas the Fifth is probably Sibelius's most joyous symphony, Sallinen's, despite initially envisaging an uplifting conclusion, eventually settles for the familiar darkness.
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26

Rhea, Thomas L. "Music synthesis program at Berklee College of Music." Journal of the Acoustical Society of America 110, no. 5 (November 2001): 2626–27. http://dx.doi.org/10.1121/1.4776865.

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27

Lynas, Kathie. "Neil MacKinnon named Dean of College of Pharmacy at University of Cincinnati." Canadian Pharmacists Journal / Revue des Pharmaciens du Canada 146, no. 5 (September 2013): 251. http://dx.doi.org/10.1177/1715163513501632.

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28

Pegley, Karen, and Catherine Graham. "Visualizing the Music." Canadian Theatre Review 109 (January 2002): 73–77. http://dx.doi.org/10.3138/ctr.109.014.

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One of Canada’s most famous opera productions recently returned to the stage of the Hummingbird Centre in Toronto after an eight-year odyssey of touring that has brought the Canadian Opera Company acclaim from critics around the world. First mounted in Toronto in 1993, Robert Lepage’s staging of Bluebeard’s Castle and Erwartung has travelled to New York, Edinburgh (where it won the prestigious £50 000 Scotsman Hamada prize for drama and music), Melbourne, Geneva, Hong Kong, Vancouver, and Cincinnati. As is by now well-known, Lepage bases his theatrical creation on the use of “resources,” ranging from pieces of text to familiar objects to artistic images in other media. What is striking in his stage direction of these two short operas, restaged for this production by François Racine, is the way Lepage treats the music itself as a resource. In this staging it would seem that the musical patterns of the score guide the creation of a series of visual images much more than do the verbal signs of the libretto. The result is a complex presentation of visual and aural images that strikes the audience as fantastically original without ultimately challenging the rather traditional messages of these psychoanalytically inspired operas.
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29

Phillips, Peter, Susan Wollenberg, and Richard Osborne. "College Chat." Musical Times 143, no. 1881 (2002): 77. http://dx.doi.org/10.2307/1004450.

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30

Olsen, Loran. "Native Music in College Curricula?" Wicazo Sa Review 2, no. 2 (1986): 59. http://dx.doi.org/10.2307/1409019.

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31

Berry, Lincoln B. "Rhode Island College Music Building." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2440. http://dx.doi.org/10.1121/1.4781889.

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32

Venn, Edward. "London, Royal College of Music." Tempo 60, no. 235 (January 2006): 80–81. http://dx.doi.org/10.1017/s0040298206330069.

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33

Wang, Lingdan. "Application of Computer Music Technology in College Music Teaching." Journal of Physics: Conference Series 1915, no. 3 (May 1, 2021): 032073. http://dx.doi.org/10.1088/1742-6596/1915/3/032073.

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34

Liu, Hou Yu. "Application of Music Software in College Professional Music Using." Applied Mechanics and Materials 556-562 (May 2014): 6754–57. http://dx.doi.org/10.4028/www.scientific.net/amm.556-562.6754.

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There are many kinds of music software which can apply to almost every field of professional music using, such as solfeggio, vocal music and composing. Software, EarMaster School, can quickly upgrade students’ ability of solfeggio. Simulating stage scenery by using auto accompaniment software can reduce their stress and tension and improve their level of singing. Doing composing practice by using music software can improve learning efficiency. "TT composer" make electronic composing more intuitive, more easily.
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35

Zeng, Chunlei. "Application Of Orff Music Pedagogy in College Music Education." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 839–43. http://dx.doi.org/10.54097/ydnn6c74.

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In the field of music education today, Orff Music Pedagogy has become a highly esteemed educational method. As an innovative concept in music education, Orff Music Pedagogy emphasizes engaging students in a comprehensive musical experience through personal participation and improvisational creativity. In college music education, this method not only enriches teaching methods but also provides an effective way to nurture students' musical creativity and aesthetic emotions. Traditional teaching models in higher education often focus excessively on theoretical knowledge, neglecting the cultivation of students' practical musical skills and creative thinking. However, Orff Music Pedagogy prioritizes student participation and practice, encouraging them to develop their potential through exploring and creating music. Through improvisation, playing instruments, and performing, students not only enhance their musical skills but also experience the charm of music firsthand, fostering a love and aesthetic appreciation for music. With the continuous evolution and development of educational concepts, Orff Music Pedagogy is expected to play an even more significant role in the future of music education.
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36

Schreck, Brian, and Alexa Economos. "Perinatal Music Therapy: Using Doppler Recordings to Connect and Create." Music and Medicine 10, no. 1 (January 25, 2018): 22. http://dx.doi.org/10.47513/mmd.v10i1.575.

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Often the first sound of human life occurs in prenatal care when a Doppler ultrasound devicedetects the baby’s heartbeat. In late 2013 at Cincinnati Children’s Hospital Medical Center, Brian Schreck, MA, MT-BC, piloted an innovative music therapy intervention that involved recording internal sounds of a patient’s life to create music with patients and their families. Many devices were explored and adapted: Doppler ultrasound devices, iPad apps, a constructed stethoscope microphone, an electronic stethoscope with Bluetooth, and other digital stethoscopes to record patients’ hearts beating and lungs breathing. This intervention aims to capture moments in time which may be preserved for future connection with the patient and family.
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37

Winfield, Alfred John. "Oakley Training College." Musical Times 130, no. 1752 (February 1989): 62. http://dx.doi.org/10.2307/966346.

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38

Hou, Juncai. "Effective Ways for College Students’ Mental Health Education Based on Music Therapy." Journal of Healthcare Engineering 2022 (January 11, 2022): 1–5. http://dx.doi.org/10.1155/2022/3031064.

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Music therapy plays a very important role in college students’ mental health education. As a marginal subject, music therapy combines music, medicine, and psychology, which is beneficial to alleviate students' bad emotions and psychological problems and help college students form a sound personality. In the process of teaching in colleges and universities, it is necessary to choose teaching methods that are closer to students’ real life so as to promote the healthy development of college students’ psychology. From the relevant investigation and analysis, college students are interested in learning music, which provides an effective basis for college students to use music to treat psychological problems. Good policies, conditions, and a broad mass base are conducive to the application of music therapy in college mental health education. The application of music therapy in the field of college students’ mental health also broadens the application field of music. This paper analyzes the application of music therapy in college students’ mental health education and probes into the effective ways for college students’ mental health education.
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39

Jian, Peiran. "An Analysis of the Role and Importance of Popular Music in College Music Education." International Journal of Education and Humanities 14, no. 1 (May 14, 2024): 228–31. http://dx.doi.org/10.54097/j6vw0q55.

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This paper discusses the role and importance of popular music in college music education. With the change of the times, pop music has become a widely popular form of music among students, and its position in music education has become increasingly prominent. This paper first analyzes the basic situation of popular music education in Chinese universities, the characteristics of music education for college students, and the importance of music education in college education. The results show that this study can better meet and cater to the needs of college students, and can play a role in pleasuring the body and mind and relieving the learning pressure, and provide a certain reference for promoting the diversification and development of college students' music education.
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40

Klocko, David G. "Multicultural Music in the College Curriculum." Music Educators Journal 75, no. 5 (January 1989): 38–41. http://dx.doi.org/10.2307/3398091.

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41

Deal, John J., and Jack A. Taylor. "Technology Standards for College Music Degrees." Music Educators Journal 84, no. 1 (July 1997): 17–23. http://dx.doi.org/10.2307/3399081.

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42

Geerdes, Harold P. "Planning school and college music facilities." Journal of the Acoustical Society of America 85, S1 (May 1989): S100. http://dx.doi.org/10.1121/1.2026602.

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43

Corvet, Luc, John Bischoff, Chris Brown, Tom Erbe, Maggi Payne, and Alvin Curran. "Music from the Center for Contemporary Music at Mills College." Computer Music Journal 20, no. 2 (1996): 128. http://dx.doi.org/10.2307/3681341.

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44

An, So Yoon and Kim, Eun Jew. "A Survey of College Music Students' Perceptions of Music Therapy." Korean Journal of Music Therapy 20, no. 2 (October 2018): 101–25. http://dx.doi.org/10.21330/kjmt.2018.20.2.101.

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45

Davis, Virginia Wayman, and Donna Hewitt. "College music administrators’ opinions of curricular initiatives in popular music." Journal of Popular Music Education 00, no. 00 (April 1, 2022): 1–18. http://dx.doi.org/10.1386/jpme_00069_1.

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This study examined college music administrators’ attitudes towards popular music in tertiary settings. Participants (N = 92) completed a Likert-type scale survey that solicited administrators’ overall attitude towards popular music education, coursework and degree plans. Additionally, data were collected through written comments regarding challenges to implementing curricular changes. Descriptive data revealed that administrators’ overall attitudes towards popular music and its inclusion in higher education settings are mostly positive. Participants’ responses to open-ended questions revealed that limited resources, budgetary concerns and pressure to have fewer credits in degree programmes are challenges to curricular changes that include more popular music opportunities. With these findings, we suggest that while college music administrators may be in favour of popular music initiatives in higher education, the ways in which they can be enacted through curricula will vary based on the unique opportunities and challenges at each institution.
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46

Meng, Meng. "The Integration of Multicultural Music Education in College Music Teaching." Advances in Higher Education 3, no. 4 (December 19, 2019): 40. http://dx.doi.org/10.18686/ahe.v3i4.1527.

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<p>In recent years, under the background of globalization, multiculturalism achieve further development, the culture concept is based on the multi-ethnic culture and cultural co-existence , to achieve the integration of different kinds of cultures in a harmonious social role. However, there are still many problems in the implementation of multiculturalism in education. Our country is a multi-ethnic country, college education process needs to take account of different ethnic backgrounds, music education is also the case, therefore, aiming at exploring college music education in multicultural music teaching school integration.</p>
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47

Pettijohn, Terry F., Greg M. Williams, and Tiffany C. Carter. "Music for the Seasons: Seasonal Music Preferences in College Students." Current Psychology 29, no. 4 (November 26, 2010): 328–45. http://dx.doi.org/10.1007/s12144-010-9092-8.

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48

N/A. "University of Cincinnati College of Medicine Selects William J. Martin, II as New Dean." Journal Of Investigative Medicine 50, no. 04 (2002): 250. http://dx.doi.org/10.2310/6650.2002.33262.

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49

Segal, Alan F. "Alan Mendelson. Secular Education in Philo of Alexandria. Cincinnati: Hebrew Union College Press, 1982." AJS Review 10, no. 2 (1985): 235–37. http://dx.doi.org/10.1017/s0364009400001367.

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50

King, Karen L., and Jennifer A. Sauers. "The clinical research professional certificate programme offered at University of Cincinnati Raymond Walters College." Quality Assurance Journal 4, no. 4 (2000): 225–28. http://dx.doi.org/10.1002/1099-1786(200012)4:4<225::aid-qaj112>3.0.co;2-r.

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