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"The Brutal Thirteen": Brethren Nonconformity, Acculturation, and Race in Elizabethtown College’s Lone Season of Collegiate Football
No full textThe story of Elizabethtown College’s lone season of intercollegiate football, in 1928, offers a window onto the dynamics of Plainness and acculturation among Brethren in eastern Pennsylvania, since the college was then controlled by the Church of the Brethren. Brethren leaders opposed intercollegiate sports, and football in particular, as beyond the bounds of Brethren nonconformity and Plainness. Students organized their own team, outside official college structures, in what may be seen as a direct challenge to Plain values. Yet the team’s experience also complicates any narrative of early twentieth-century Brethren assimilation because the team did not merely mimic the sports culture of mainstream America and the patterns of nearby schools. The Elizabethtown team included an African American player and a player with a physically disability, both examples of inclusion that were surprising for the time and were many years ahead of neighboring athletic programs, and thus suggest not only currents of acculturation but also the presence of clearly countercultural values among the Elizabethtown College players
Eberly, The Original Joe Wenger: The Life Story of Bishop Joseph O. Wenger, 1868–1956
No full textNo abstract available
Perception of Structure in Collective Free Improvisation and its Context Dependency: An Exploratory Analysis
No full textThis paper explores the hypothesis that similar structural notions can arise in different creative contexts, such as free improvisation and contemporary composition. Participants segmented a recorded improvisation into sequences based on personal criteria. Two groups were given different contexts: one group was informed the piece was a free improvisation, while the other was told it was a contemporary composition. Each participant analyzed one of 10 recordings. We aligned the segmentations by looking for overlaps within a specific time frame, Δt, considering segments simultaneous if they occurred within [t – Δt; t + Δt] of each other. Results indicated a high degree of similarity in perceived structure: 64% of segments overlapped within a 5-second frame, and 71% within 10 seconds. Additionally, the study found variations in the total number of segments and a correlation between sequence duration and the number of instruments used in the piece. These findings suggest that despite different contexts, there is a comparable perception of structural elements in musical pieces
Embodiment Consciousness in Music Performance Pedagogy
No full textThe acquisition of expertise in music performance and its pedagogy, depends on, beyond specific musical skills, employing resources from other fields of knowledge and considering sensory, motor, and affective capacities at each step of the music learning process. We studied the teaching practices of three expert clarinet teachers to investigate their didactic procedures, evaluating how those practices could be related to their students’ high levels of performance. The method gathered data from a “protocol joint analysis” and semi-structured interviews with teachers and their students. Data analysis revealed a particular set of pedagogical skills observed in the didactic procedures of these expert teachers. These teaching strategies were common to all three case studies and revealed themselves as a last didactic resource to overcome complex problems at the highest level of proficiency in musical interpretation. We call that pedagogical expertise field Embodiment Consciousness in Music Performance. This field of competence describes the systematic didactic use of metaphor to access performers’ sensorimotor and affective memories, whose semantic contents can thereby be accessed to support performance actions
Brief Exposure to Notated Scores: Pianists' Quick Impressions of Musical Style
No full textThis study concerns classical musicians' ability to recognize style periods from very brief visual exposure to musical notation. 25 professional pianists were shown nine 500-ms displays of musical excerpts from piano works by J. S. Bach, L. v. Beethoven, and F. Chopin. The pianists were told to describe what they saw and to assess the style period of the music. Recognition was relatively good: 49% of the verbal protocols included a correct style period label or the right composer name. Verbal protocols also supported the notion that style recognition chiefly relies on intuitive, holistic integration of information, rather than on reflective, analytic processing. First, correct responses regarding style period occurred significantly earlier than incorrect ones, which suggests that they may have taken place more intuitively. Second, correct recognitions were not preceded by richer spoken contents than was found in the case of non-recognition. Indeed, the opposite was the case for composer recognition, which again associates recognition with intuitive processing. It is argued that the rapid recognition of musical style characteristics is a prerequisite for stylistically sensitive sight reading
A Brilliant, but Problematic Study: What do the Results of Frank (et al.) signify?
No full textFrank (et al.)'s article, "Exploring the variability of musical-emotion expression over historical time" is a thoughtful, creative attempt to tackle the thorny problem of reconstructing the historical cognition and perception of music. The article is a pleasure to read, owing in large part to the brilliant design of using musical excerpts composed by Johann David Heinichen to explicitly express particular emotional states. These descriptions serve as a ground truth for a modern empirical study. The study produced negative results, which are always tricky to interpret. This review explores some of the methodological choices of the study that may have contributed to the negative results. The review then questions the interpretations of the negative results suggested by the authors in light of some of the problematic methodological decisions of the study, especially the claims that the results suggest that the perception of musical affect has changed over the past 200 years. Finally, the review proposes what conclusions are appropriate to draw from the study in light of its design and framing
Fostering Culturally-Responsive Calculus Instruction: Enhancing Global Learning Experiences Through AI Integration
No full textThis paper explores the implementation of culturally-responsive calculus tasks facilitated by AI agents in a cross-cultural collaborative learning environment over a period of three weeks. Engaging student pairs from China and the United States in weekly 90-minute sessions via ZOOM, our study employed a qualitative research methodology, focusing on dialogue analysis and student interaction with the AI agent. This approach provided insights into how the AI agent influenced students’ understanding of calculus concepts through historical and cultural lenses. Our findings reveal that the AI agent not only enhanced conceptual understanding but also effectively bridged linguistic and cultural divides, enriching the global learning experience