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Comparative Analysis of Sarah Brightman and 2 Cellos, Classical Artists Applying Successful Crossover Strategy to Popular Music
Title
Comparative Analysis of Sarah Brightman and 2 Cellos, Classical Artists Applying Successful Crossover Strategy to Popular Music.
Creator
Simonovska, Dragana, Compomizzi, Joseph, Florida Atlantic University, College of Business, Department of Management
Abstract/Description
For decades now, musicians have been using crossover to expand their career and earn more knowledge about the music industry. Soprano Sarah Brightman and duo 2 Cellos are classically trained musicians who implemented crossover into their career and used their classical training as guidance of become successful. Musicians who restrict themselves only to classical music may approach danger regarding a career and livelihood, which includes audience interest, employability and financial...
Show moreFor decades now, musicians have been using crossover to expand their career and earn more knowledge about the music industry. Soprano Sarah Brightman and duo 2 Cellos are classically trained musicians who implemented crossover into their career and used their classical training as guidance of become successful. Musicians who restrict themselves only to classical music may approach danger regarding a career and livelihood, which includes audience interest, employability and financial instability. In this study the term “crossover” refers to classical artists’ who use their skills to perform other genres. Crossover gives artists the chance to appeal to larger audiences and extend their repertoire of music while using techniques used in classical works. Classical musicians such as Sarah Brightman and 2 Cellos are being forced to cross musical genres because of employability, declining audience interest in classical music and financial instability. Within this research I am going to compare and analyze the crossover of one classical vocalist, Sarah Brightman, and a classical instrumentalist group named 2 Cellos. My research will focus on the following three questions: Research Question #1 What are the critical factors for successful crossover for classical musicians to pop? Research Question #2 What crossover processes did Sarah Brightman and 2 Cello’s employ to transition from classical to pop music? Research Question #3 Was Sarah Brightman’s and 2 Cellos crossover to pop music successful according to the definition and parameters of success? This paper ends with a conclusion highlighting my findings, which summarizes the major points of this research and provide ideas for further research on the concept of crossover.
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Date Issued
2017
PURL
http://purl.flvc.org/fau/fd/FA00004829, http://purl.flvc.org/fau/fd/FA00004829
Subject Headings
Career development., Music trade., Popular music and art music., Cover versions., Brightman, Sarah--1960-, 2Cellos (Musical group)
Format
Document (PDF)
Retro-Respect
Title
Retro-Respect: a musical tribute to ten of this generation's greatest artists.
Creator
Falk, Kam Allen., Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
The popular culture of the past three decades owes a great deal to the creativity and musical impact of the artists featured in Retro-Respect. The project's objective was to carefully select ten of this generation's most influential recording artists and, as a musical tribute, produce and record unique arrangements of songs by each of them for an audio CD. Each featured artist has at least a 30 year history of influence and recognition as being among the industry's best, and all remain...
Show moreThe popular culture of the past three decades owes a great deal to the creativity and musical impact of the artists featured in Retro-Respect. The project's objective was to carefully select ten of this generation's most influential recording artists and, as a musical tribute, produce and record unique arrangements of songs by each of them for an audio CD. Each featured artist has at least a 30 year history of influence and recognition as being among the industry's best, and all remain musically active today. Included are Aerosmith, Chaka Khan, Stevie Wonder, Steely Dan, Bonnie Raitt, Sting, The Eagles, Eric Clapton, Elton John and David Bowie. Retro-Respect was produced and arranged by Kam Falk. Each of the eight vocal and two instrumental songs features a different ensemble with Falk performing on six-string bass, fretless four-string bass, keyboards, vocals and drum/ percussion programming.
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Date Issued
2009
PURL
http://purl.flvc.org/FAU/329843
Subject Headings
Performing arts, Popular music, Writing and publishing, Music appreciation
Format
Document (PDF)
comparative study of current practices of selected university-based children’s chorus directors in relation to arts integration
Title
comparative study of current practices of selected university-based children’s chorus directors in relation to arts integration.
Creator
Brown, Sally C., Fleitas, Patricia P., Dorothy F. Schmidt College of Arts and Letters, Department of Music
Abstract/Description
There is limited research available focusing on arts integration at the secondary school level and even less on a children’s chorus curriculum. Therefore, the aim of this qualitative study is to investigate the application of arts integration in a university-based children’s chorus based on historical research, rehearsal observations, and interviews of practicing children’s chorus directors. The pedagogical practices and philosophies of three prominent children’s chorus directors, Robyn Lana,...
Show moreThere is limited research available focusing on arts integration at the secondary school level and even less on a children’s chorus curriculum. Therefore, the aim of this qualitative study is to investigate the application of arts integration in a university-based children’s chorus based on historical research, rehearsal observations, and interviews of practicing children’s chorus directors. The pedagogical practices and philosophies of three prominent children’s chorus directors, Robyn Lana, Henry Leck, and Ann Small were conducted to understand the relationship between arts integration theory and practice in their respective children’s choruses. The criteria used to select the participants of this study is based upon their tenure in the field of choral music education, national and international recognition, their publications on music education for children, and their expertise on the child and adolescent singing voice. One of the principal objectives of this study is to discover if the participants are currently implementing arts integration in their respective children’s choruses and, if not, would they be amenable to implementing this type of pedagogy? The study’s research criteria focuses on two possible factors: 1) the expectations of a high level of artistic performance that could affect time availability presenting obstacles to implementing arts integration, and 2) identifying the philosophy and practice towards arts integration amongst the selected children’s chorus directors. The study suggests that a choral curriculum based on arts integration does not appear to diminish or interfere with the rehearsal process in preparation for the choral performance but rather, enhance the total learning and performance outcomes. Research data also suggests the need for materials and resources to assist with the application of an arts integrated curriculum. The three participants acknowledge the value of this type of pedagogy as well as the significance of future research to aid in applying this methodology. Sample lesson plans and choral literature representative of repertoire conducive to creating lesson plans based on arts integration strategies are found in the appendices. However, additional qualitative and quantitative studies are needed to promote arts integration at the secondary choral level.
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Date Issued
2013
PURL
http://purl.flvc.org/fau/fd/FA0004009
Subject Headings
Aesthetics -- Psychological aspects, Arts -- Study and teaching, Interdisciplinary approach in education, Oral interpretation of music
Format
Document (PDF)
General education classroom teachers' and music specialists' perceived ability to implement the National Standards for Music Education
Title
General education classroom teachers' and music specialists' perceived ability to implement the National Standards for Music Education.
Creator
Byo, Susan June, Florida Atlantic University, Gray, Mary B., Morris, John D.
Abstract/Description
The purpose of this study was to examine teacher perceptions about pertinent factors affecting the successful teaching of the National Standards for Music. Subjects were music specialists and fourth grade generalists from public elementary schools in consenting school districts from throughout the State of Florida. The two groups were administered a survey to glean opinions of the feasibility of implementing each of the nine National Standards for Music by rating seven repeated professional...
Show moreThe purpose of this study was to examine teacher perceptions about pertinent factors affecting the successful teaching of the National Standards for Music. Subjects were music specialists and fourth grade generalists from public elementary schools in consenting school districts from throughout the State of Florida. The two groups were administered a survey to glean opinions of the feasibility of implementing each of the nine National Standards for Music by rating seven repeated professional and resource items (contact time, resources, assistance, ability, training, interest, responsibility, and level of assistance). The summed ratings of the dependent variables (consisting of the seven professional and resources items) for each standard were subjected to a two way analysis of variance with repeated measures to determine that significant differences exist with respect to the independent variable of teacher role, with music specialists and general educators as two levels of this variable; and the independent variable of content standard, variable. Statistical significance and interactions were studied within content standards and between music specialists and fourth grade generalists. Results indicate that significant differences exist between music teachers and fourth grade teachers in their perceptions of the feasibility of delivering effective instruction for each standard. Additionally, a significant difference exists between each standard with respect to the overall perceived viability of effective implementation regardless of teacher role. Further, an interaction was identified that indicated differences by both role and standard. More specifically, this research yielded results which indicate that certain standards (History & Culture, Singing, and Analyzing Music) are more feasible for both roles to teach than other standards (Playing Instruments, Improvising, and Composing). It also verified that music specialists are considerably more amenable to the implementation of the nine content standards than the general educators with respect to all seven professional and resource items. Music teachers feel most effective implementing the Evaluating, Listening & Analyzing, and Singing standards while generalists feel most effective implementing the History & Culture, Other Subjects, and Singing standards. Both groups indicated an overall lack of time and resources to effectively teach most standards. Music teachers were less dependent on the assistance of classroom teachers while classroom teachers agreed that they needed the assistance of music teachers to successfully implement most standards.
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Date Issued
1997
PURL
http://purl.flvc.org/fcla/dt/12503
Subject Headings
National standards for arts education
Format
Document (PDF)
Imagining Kandinsky’s theories as a synesthetic iPhone app
Title
Imagining Kandinsky’s theories as a synesthetic iPhone app.
Creator
Torlen, Anna, Bargsten, Joey, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, School of Communication and Multimedia Studies
Abstract/Description
Wassily Kandinsky wrote Über das Geistige in der Kunst, in 1912, and was translated from German into English by Michael Sadler. Naming it at first, “The Art of Spiritual Harmony” in 1914 it is known as, Concerning the Spiritual in Art. He wrote color and music theories based on angles, synesthetic experiences, subjective instincts, chromotherapy, and shapes. Kandinsky’s theories are worth continuing to research and bring forth into the new generation of technology where we can see music as...
Show moreWassily Kandinsky wrote Über das Geistige in der Kunst, in 1912, and was translated from German into English by Michael Sadler. Naming it at first, “The Art of Spiritual Harmony” in 1914 it is known as, Concerning the Spiritual in Art. He wrote color and music theories based on angles, synesthetic experiences, subjective instincts, chromotherapy, and shapes. Kandinsky’s theories are worth continuing to research and bring forth into the new generation of technology where we can see music as numerical expressions. The goal of this iPhone Application is to teach users the relationship between color and music based on Kandinsky’s theories.
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Date Issued
2015
PURL
http://purl.flvc.org/fau/fd/FA00004414, http://purl.flvc.org/fau/fd/FA00004414
Subject Headings
Art and music, Art, Modern -- 20th century -- Psychological aspects, Blaue Reiter (Group of artists), Computer art -- Technique, Expressionism (Art) -- 20th century, Kandinsky, Wassily -- 1866-1944 -- Concerning the spiritual in art -- Criticism and interpretation, Kandinsky, Wassily -- 1866-1944 -- Influence, Spirituality in art, iPhone (Smartphone) -- Mobile apps
Format
Document (PDF)
Authenticity of space
Title
Authenticity of space: an interdisciplinary convergence of the tradition of sacred music and twenty-first century sacred architecture.
Creator
Copher, Daniel., Dorothy F. Schmidt College of Arts and Letters, Department of Philosophy
Abstract/Description
The twenty-first century has already seen some aesthetically exciting sacred architectural spaces. Much liturgical music, however, is centuries old. With regard to performing old music, philosophers such as Steven Davies, etc., have debated the aesthetic merits of striving for authenticity of performance. If authenticity is a valid performance aesthetic principle, as I contend it is, the following paradox arises: Some contemporary sacred spaces are the sites of moving, aesthetically valid...
Show moreThe twenty-first century has already seen some aesthetically exciting sacred architectural spaces. Much liturgical music, however, is centuries old. With regard to performing old music, philosophers such as Steven Davies, etc., have debated the aesthetic merits of striving for authenticity of performance. If authenticity is a valid performance aesthetic principle, as I contend it is, the following paradox arises: Some contemporary sacred spaces are the sites of moving, aesthetically valid performances of sacred music. But how is it possible to have aesthetically valid authentic performances of sacred music in twenty-first century sacred spaces?... The question of authenticity in this unique musical genre focuses on performance space, liturgical function, musical instruments, performer/listener interaction, and cultural conditions. ...Using architectural examples constructed in the twenty-first century, this thesis will propose a set of aesthetic criteria for achieving an authentic setting for sacred music from all periods.
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Date Issued
2012
PURL
http://purl.flvc.org/FAU/3358555
Subject Headings
Liturgy and architecture, Christianity and the arts, Symbolism in architecture, Church architecture, Design, Organ (Musical instrument), Social aspects
Format
Document (PDF)
More branches on the oldest tree
Title
More branches on the oldest tree: tradition and experimentation through improvisation in the music of post-Katrina New Orleans.
Creator
Bethea, David., Dorothy F. Schmidt College of Arts and Letters, Department of Visual Arts and Art History
Abstract/Description
On Monday August 29, 2005, Hurricane Katrina made landfall in Southeast Louisiana bringing with it destruction to much of the Gulf Coast. While New Orleans, one of America's most culturally and artistically significant cities, was spared a direct hit, the subsequent flood devastated much of the city, home to many musicians. The devastation and stress from the storm established a situation and a motivator for creative response, and this dissertation illustrates that the music these musicians...
Show moreOn Monday August 29, 2005, Hurricane Katrina made landfall in Southeast Louisiana bringing with it destruction to much of the Gulf Coast. While New Orleans, one of America's most culturally and artistically significant cities, was spared a direct hit, the subsequent flood devastated much of the city, home to many musicians. The devastation and stress from the storm established a situation and a motivator for creative response, and this dissertation illustrates that the music these musicians produce is a manifestation and continuation of New Orleans' cultural atmosphere. The city's historical allowance and celebration of freedom of expression permits New Orleans' current musicians to be innovative and responsive to the events surrounding the disaster. This project, designed as a qualitative research study, identifies four professional musicians who are established in the musical environment of New Orleans. To illustrate the depth of tradition and experimentation that their music evokes, the music of post- Katrina New Orleans is given historical contextualization and set in comparison to music that was inspired by a past catastrophe, the 1927 flood. Through the holistic exploration of the present circumstances of these four musicians, it becomes clear that New Orleans remains a place that is extremely open to change and that experimental music flourishes at the same time that traditional jazz lives on through new performers, who walk in the footsteps of legends. From interviews conducted with these four individuals, as well as other on-site observations, the emotional, physical, and financial effects of Hurricane Katrina are identified and recorded., Central to this study is the author's own knowledge of music and experience in musical dialogue - it is through the interaction of the author and the subjects that important events and characteristics, which could be documented, actually emerged.This project reveals the influence that the storm has had on the individual musician and it demonstrates that while all four musicians are caught up in the whirlwind of recovery in New Orleans, their music remains rooted in the fundamental characteristic that is associated historically with New Orleans' music, improvisation. By the same token, it also shows that while each person may have had to suffer the same conditions, the musical response from each musician was unique.
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Date Issued
2010
PURL
http://purl.flvc.org/FAU/2953204
Subject Headings
Improvisation (Music), Hurricane Katrina, 2005, Psychological aspects, Composition (Music), Psychological aspects, Arts and society, Social conditions
Format
Document (PDF)