The Jacobs Faculty Bookshelf
This page serves as a listing of publications by Jacobs School of Music faculty. Click on an item to view available purchasing options as well as its availability on the IU Library Catalog.
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An emotional and collaborative tour de force, Dominick DiOrio’s FETTER AND AIR presents the Mendelssohn Chorus of Philadelphia’s own words set to a haunting soundscape that explores each member’s innermost hopes, fears, dreams, and desires. The massive undertaking is a skillful combination of 562 audio files comprising spoken word and singing by 61 chorus members, combined into a single piece by DiOrio and sound designer Justin “JG” Geller. The personal thoughts and interweaving arrangements create a raw expressiveness and intimacy, ultimately rendering a reminder of how our own stories echo within us.
Fine-Tuning the Foundation: Essential Ensemble Adjustments for the Double Bass Section
As an orchestra conductor and string music educator, I have come to appreciate the critical role that a well-adjusted bass section plays in creating a cohesive, powerful ensemble sound. Yet, all too often, conductors and educators struggle to make the necessary adjustments to fully integrate the unique qualities of the bass into the orchestral texture.
General Music: Dimensions of Practice
Brent Gault , Carlos Abril
General Music: Dimensions of Practice is a practical guide for music teachers and teaching artists who strive to teach music holistically. The book begins by framing general music as a holistic music education that is comprehensive, meaningful, and relevant to diverse learners in school and community settings. It is followed by chapters that are organized into one of four dimensions of music practice: performing, connecting, creating, and responding.
Brent Wallarab , Mark Buselli
This four-movement jazz suite is a tribute to Gennett Records, of Richmond, Indiana, and the jazz greats that recorded there in the 1920s: King Oliver, Jelly Roll Morton, Hoagy Carmichael, Bix Beiderbecke, and Louis Armstrong.
The suite was inspired by such jazz classics as “Tin Roof Blues,” “Chimes Blues,” “Davenport Blues,” “Stardust,” “Riverboat Shuffle,” “King Porter Stomp,” and more. Wallarab’s composition takes these songs, expands them to a 17-piece jazz orchestra, and gives them a fresh, modern twist while remaining true to their original nature.
"...a bravura solo performance of world multi-percussion - from traditional African melody to contemporary American minimalism - by a "brilliant" (New York TIMES) young musician with a growing international reputation."
- CD baby
John Raymond , Kind Folk (John Raymond, Alex LoRe, Noam Wiesenberg, Colin Stranahan)
Recorded at Samurai Hotel Recording, in New York City, June 8, 2021.
Illuminations: Music of Narong Prangcharoen
Thai composer Dr. Narong Prangcharoen's success has been confirmed by his receiving the prestigious Charles Ives Award from the American Academy of Arts and Letters, a Guggenheim Fellowship, and the Barlow Prize. Prangcharoen enjoys an international reputation and is recognized as one of Asia's leading composers. His music has been performed worldwide by many renowned orchestras and new music ensembles. He was composer-in-residence at the Pacific Symphony and is now composer-in-residence at the Thailand Philharmonic Orchestra and Artistic Director of the Thailand International Composition Festival. This recording, his third for Albany Records, features seven of his orchestral works, performed by the Thailand Philharmonic under the direction of Jeff Meyer.
Inclusive Music Histories: Leading Change through Research and Pedagogy
Inclusive Music Histories: Leading Change through Research and Pedagogy models effective practices for researchers and instructors striving either to reform music history curricula at large or update individual topics within their classes to be more inclusive.
Introduction: Rethinking Protest Music
Noriko Manabe , Eric Drott
This introductory chapter argues for a reconsideration of protest music, expanding its scope beyond songs with explicit political lyrics. It situates the recent proliferation of protest music studies within the intensification of global social movements since 2009 and disciplinary shifts in music and social movement studies. Moving beyond a narrow focus on protest music’s communicative functions, the authors propose examining its affective force, pragmatic effects, and organizational role in collective action as well. The introduction outlines the Handbook’s key themes—issues of definition, historical memory, voice, social organization, spaces of protest, and intertextuality—and calls for cross-disciplinary dialogue to generate new insights into the complex ways music and sound intersect with activism. That protest music continually adapts to changing political struggles also means that efforts to define it will necessarily be provisional, requiring that the study of protest music be as open-ended and flexible as its object.
Jewish Religious Music in Nineteenth-Century America: Restoring the Synagogue Soundtrack
In Jewish Religious Music in Nineteenth-Century America: Restoring the Synagogue Soundtrack, Judah M. Cohen demonstrates that Jews constructed a robust religious musical conversation in the United States during the mid- to late-19th century. While previous studies of American Jewish music history have looked to Europe as a source of innovation during this time, Cohen's careful analysis of primary archival sources tells a different story. Far from seeing a fallow musical landscape, Cohen finds that Central European Jews in the United States spearheaded a major revision of the sounds and traditions of synagogue music during this period of rapid liturgical change.