The College of Creative Arts Faculty Student Mentored Research awards demonstrate
the exceptional mentored research work being conducted in the arts at West Virginia
University. Research in the arts can take many forms: exhibitions, performances,
publications, scholarly research and more.
This display will also be part of WVU's Research Week. Awards are supported by the CCA Dean's Office, with additional support for the new Collaborative Award from the WVU Research Office.
Watch all 2022 Faculty/Student Mentored Research Project Introductions
Undergraduate Projects
Chronic- An Abstract Exploration Into Chronic Illness
by Elizabeth Boccabello, School of Art & Design
Faculty Mentor: Hannah K. Freeman
Painted Sculpture, October 2021
Abstract
Living with a chronic illness is what makes up the theme for my painting, Chronic.
This work is a more sculptural painting, referencing the pain I feel when I have
an episode relating to my chronic illness. The painting symbolizes the pain someone
would feel if their organs were to be ripped from their abdomen, a feeling I experience
on a regular basis. The knitted attachments represent two things. The first, and
most literal representation, is that the knitted pieces look like organs. The second,
refers to a calming action that doctors have me do to try to relax during an episode,
in this case it is knitting. The artwork is darker in theme but is juxtaposed with
vibrant and cheery colors. Not only is this due to personal preference towards
bright colors, but it shows the overly happy mindset people with chronic illness
must adopt so they do not become overwhelmed with their illness. Though this painting
is abstract and almost non-objective at first, the goal of my work is to open a
dialogue between viewers about chronic illness and to spread awareness so doctors
can better treat people like me. My professor, Hannah Freeman, helped me organize
my ideas for the artwork in ways like helping me re-assess brush stroke quality
and the importance of some of the yarn colors. In the end, she helped me create
a sophisticated abstract artwork without losing the original purpose of opening
conversation about chronic illness.
Image: "Chronic" Oil paint/Yarn (Knit)
Listen to Elizabeth's Introduction and Artist Statement
Supporting Content:
Elizabeth's Faculty Statement (PDF)
Compact Disc Album: Contemporary Alto and Bass Flute music by Francophone Composers
by Ethan Nylander, School of Music
Faculty Mentors: Nina Assimakopoulos, Eftihia Arkoudis
Recording, September 2021-March 2022
Abstract
My research comprises the promotion, preparation and recording of a CD album containing
eight contemporary works for alto and bass flute written by francophone composers
associated with the French flute school. This CD is the first of its kind, as one
containing solely music for low flutes has never been published by any artist.
These compositions span from 1937 to 2020 and require mastery of both traditional
and contemporary techniques of the Boehm flute. Within these works I execute a
variety of extended techniques; techniques that transcend the limits of traditional
flute playing. These techniques include air sounds, pizzicato tonguing, jet whistles,
multiphonics, and more, juxtaposed with traditional flute playing techniques such
as fast articulation, vibrato, circular breathing, support and control. In addition,
multiple pieces are scored for flute and pre-recorded sound, requiring these techniques
to be played with strict attention to time, and with an understanding of the structure
of the sound in order to blend and balance. From this project, I have acquired
the knowledge required to successfully record and publish an album, as well as
how to promote with social media. This research is being conducted with the intention
of instituting acknowledgement, indoctrination, and representation of contemporary
music on an international scale, and with the intention of providing an immensely
sound contribution to the field. I have received personalized instruction on the
works from flutist Nina Assimakopoulos, as well as mentorship on the production,
organization, and promotion of the CD from flutist Dr. Eftihia Arkoudis.
Listen to Ethan's Introduction and Presentation
Listen to Ethan's Introduction and Presentation
Supporting Content:
Ethan's Faculty Statement (PDF)
Jinxy Jenkins & Lucky Lou: The Journey from Spark to Screen
Undergraduate Student 1st Place
by Zoey Lim, School of Music
Faculty Mentors: Dr. Matthew Heap, Dr. Kyle Simpson
Multimedia Scoring, April 2021 - November 2021
Abstract
As a student composer who knew next to nothing about film scoring just last year,
I never would have imagined that an idea of mine would end up being performed and
recorded by a group of talented musicians. The idea was simple: to try to tell
the story of two completely opposite characters with music in an animated short
film. The title of the film was named after the main characters Jinxy Jenkins and
Lucky Lou; Jinxy Jenkins was this gloomy, human-shaped bad luck magnet and Lucky
Lou, a sunshine-and-rainbows kind of person who was as lucky as her name suggests.
The very first draft included me using computer-generated instruments as playback,
it didn’t sound too good. Later in the rewrite, I certainly felt like I was the
real life embodiment of Jinxy Jenkins, except that I had a two-week deadline, technical
hiccups, and writer’s block that he did not. That said, I also met my fair share
of Lucky Lous who were always there to offer insights, motivate and cheer me onwards.
Throughout the process, I got to score for live musicians, tinker with recording
technology, conduct an ensemble, and perform/record the score with the WVU Film
Score Ensemble—things that I would have never learned or experienced otherwise.
Looking back, the scoring of Jinxy Jenkins wasn’t just about telling the story
of two conflicting characters; it was also about the journey of a group of musicians,
who overcame the hurdles and gave life to a simple idea.
New Music in West Virginia
by Christian Rhen, School of Music
Faculty Mentor: Dr. Kyle Simpson
Album of music featuring new artists' original music, Fall 2021 - Spring 2023
Abstract
New Musicians of West Virginia is a project showcasing new music influencing the
musical communities in West Virginia and the diversity of its sound. The goal of
this project is to write original music with local songwriters and musicians to
produce an album showcasing the live music happening in our communities. This album
will be available on major streaming platforms such as Spotify and Apple Music
and will demonstrate the modularity of West Virginia’s music and the broad possibilities
new musicians offer beyond the stereotypes of folk, bluegrass, and country. Beyond
promoting new music in West Virginia, this project seeks to feature the selected
artists based on their stories, their experiences, and their music. With an emphasis
on the individual and the effect they have on the greater community around them,
we can celebrate the intricate differences among us through the medium of music.
To get this project in motion, I will be responsible as the producer for scheduling,
budgeting, recording, and the release of the album in the image of the artists
to preserve their creative intentions. This entails research and practice with
audio engineering, music arranging, music distribution, and various skill sets
to best capture and present the artists’ intentions regardless of the diversity
among this project’s song writers.
Supporting Content: Christian's Faculty Statement (PDF)
Supporting Content: Christian's Faculty Statement (PDF)
Preparation, Recording, and Performance of Modern Works for Flute of Spanish Origin
by Juan Carlos Narvaez, School of Music
Faculty Mentor: Nina Assimakopoulos
Performance/Recording, August 2021- present
Abstract
The focus of my research is the preparation, CD recording/publication and live performances of 12 previously unrecorded works for flute by contemporary composers that draw on the diversity of musical traditions within the country of Spain resulting in compositions that are hybrids of diverse Spanish musical styles and practices associated with western art music. This repertoire requires mastery of performance practices that go beyond the conventional playing techniques of the flute, known as extended techniques, these may include singing and playing simultaneously, multiphonics, air glissandi and more. The study and preparation of these works for flute will occur in collaboration with the commissioned composers of each work. My research will investigate the connections between these works and traditional music influences of various regions of Spain. This will involve study of historical writings at archives such as the Biblioteca de Catalunya which will culminate in the writing of the CD liner notes, and program notes that will be shared during live performances of these works. My investigation culminates in live performances in Spain and the United States and the production of a CD recording produced by Mon Hills Records. This CD will be the first recorded collection of these kinds of works, providing critical documentation of current activity in the field of 21st century art music.Listen to Juan's Performance and Presentation
Supporting Content: Juan's Faculty Statement (PDF)
The Legacy of Bernard Woma: A Resource for Independent Study of Dagara Gyil
Undergraduate Student Honorable Mentionby Elizabeth Rockwell, School of Music
Faculty Mentor: Dr. Michael Vercelli
Oral/visual presentation, June 1, 2021-July 30, 2021
Abstract
The gyil is a West African xylophone associated with the Dagara people in Ghana and
Burkina Faso. Bernard Woma, a master gyil player, was crucial to the dissemination
of the instrument outside of Dagara culture. Before his untimely passing in 2018,
Woma worked with Dr. Michael Vercelli (WVU) to design a method book that allowed
beginner gyil players to learn fundamental skills independently before traveling
to Africa to learn from a master musician. Together, they posed a question: will
translating an oral tradition to the written page allow people outside of the Dagara
community to learn it? Using a triple-channel learning model, the book teaches
through visual transcriptions and auditory examples of Dagara repertoire while
encouraging retention through kinesthetic practices. My role in this research was
to learn gyil through this resource as a beginning student to determine if this
project can reach its intended goal despite Woma’s absence. We found that the triple-channel
model was an effective way to translate Dagara repertoire and best represent Bernard
Woma’s pedagogical practice.
Listen to Elizabeth's Presentation | Read Elizabeth's Presentation
Supporting Content: Elizabeth's Faculty Statement (PDF)
Listen to Elizabeth's Presentation | Read Elizabeth's Presentation
Supporting Content: Elizabeth's Faculty Statement (PDF)
Graduate Projects
A Study and Analysis of the Extended Techniques used in Ian Clarke's Zoom Tube
Graduate Student Honorable Mentionby Sammy Holloman, School of Music
Faculty Mentor: Nina Assimakopoulos
Performance, 1999
Abstract
When asked to describe a flute sound, many would likely mention the high pitch or
sweet tone quality. It is unlikely someone would first mention the flute’s ability
to produce multiphonics, percussive sounds, or even homophonic textures, as these
concepts, known as extended techniques, are not a part of the traditional flute
history. An extended technique is an unconventional approach to playing an instrument
in order to achieve an unusual timbre. Extended techniques are a relatively new
concept in the flute world, for many composers did not begin truly exploring the
variety of timbres a flute could produce until arguably the 1950’s. As this modern-day
language continuously develops, learning extended techniques requires a great deal
of exploration and analysis. Ian Clarke’s Zoom Tube for solo flute is composed
entirely of extended techniques such as: air sounds, singing and playing, multiphonics,
finger glissandi, pitch bending, percussive effects, microtonal scales, and the
jet whistle. This work requires flutists to perform a variety of challenging techniques,
often layered together, and utilizes a different notation system from what one
would find in “traditional” repertoire. Learning Zoom Tube is equivalent to learning
a new language. In making this developing language accessible to flutists of all
playing levels, I have shared my studies through a series of online tutorial videos,
and I will be presenting my research on the extended techniques used in Zoom Tube
at the 2022 Flute Society of Greater Philadelphia Flute Fair.
Listen to Sammy's Introduction and Presentation
Supporting Content: Sammy's Faculty Statement (PDF) | Listen to Sammy's Tutorial | Listen to Sammy's Performance
Listen to Sammy's Introduction and Presentation
Supporting Content: Sammy's Faculty Statement (PDF) | Listen to Sammy's Tutorial | Listen to Sammy's Performance
Analysis of New Works for Euphonium Ensemble
by Michael Waddell, School of Music
Faculty Mentor: Dr. Andrew Kahn
Scholarly articles and accompanying video analysis, Spring 2021
Abstract
This research analyzes and explains the form, melodic, and harmonic structures of
three newer pieces written for euphonium ensemble. Psalm by Zach Collins for euphonium
quartet, War Machine by Anthony O’Toole for euphonium quartet, and Technodrone
for euphonium sextet by Anthony O’Toole. These articles were written to accompany
previous work in recording the pieces, and fieldwork done interviewing the composers
of the works. In addition to the written articles, the video presentation of the
War Machine analysis showcases key aspects of the analysis along with audio examples
of the work.
Listen to Michael's Presentation
Supporting Content: Michael's Faculty Statement (PDF) | Listen to Michael's Introduction | Read Michael's Analysis
Listen to Michael's Presentation
Supporting Content: Michael's Faculty Statement (PDF) | Listen to Michael's Introduction | Read Michael's Analysis
Artists Sydney Laurence, Belmore Browne, and Olaus Murie and the Conservation of American Land
Graduate Student 1st Placeby Madelyn Brodie, School of Art & Design
Faculty Mentor: Dr. Rhonda Reymond
Thesis (Research Paper), Fall 2020- Spring 2022
Abstract
My research analyzes the impact of artists Sydney Laurence (1856- 1940), Belmore
Browne (1880- 1954), and Olaus Murie (1889- 1963) and the contribution that their
artwork had on the protection of United States public lands. I examine the conservation
initiatives that were brought into effect during the early 1900s, the personal
motivations of these artists to preserve the land, and the interactions between
these artists and the United States government to demonstrate their involvement
in land preservation. Artworks created by Laurence, Browne, and Murie are examined
and evaluated for their aesthetic impact and their contribution to environmental,
geographical, and biological knowledge of the habitats and wildlife that were largely
unknown to the United States government. The analysis of governmental documents
and legislation, the lobbying efforts of activist organizations, and government
official’s reception of the artwork of Laurence, Browne, and Murie proves the impact
of these artists. The paintings of Sydney Laurence and the paintings and field
sketches of Belmore Browne and Olaus Murie aided in the preservation of millions
of acres of land in the Northwest region of the United States.
Rhythms of Lebanon
by Joseph Boulos, School of Music
Faculty Mentor: Dr. Michael Vercelli
Virtual Exchange/Video, April 23rd, 2021
Abstract
This creative mentored research project is a presentation of traditional music from
Lebanon. I was given the opportunity, as a World Music Graduate Assistant, to structure
the class around my principal instrument, the Lebanese darbaki. The overall goal
with this class was to teach the proper technique, function, and approach to the
instrument and music. The project we had completed on April 23rd, 2021 was a virtual
exchange program, similar to what we were doing in the African Music and Dance
Ensemble. I organized two masterclasses via zoom with Ziyad Marcus, an accomplished
oud player. The masterclasses focused on the melodic aspects of Lebanese music.
For our concert, the ensemble had recorded a full arrangement of a piece highlighting
popular rhythms in Lebanon, and Ziyad layered an oud part to fit our arrangement.
By adding the oud, the students were able to see the importance of the instrument
on its own, as well as understanding its role in an ensemble. Incorporating this
West Asian section into WVU’s already diverse world music program will enhance
the positive impact of the global music program for students, faculty, and the
community. My hope is to expose many students to the music of West Asia, an underrepresented
music culture in U.S. higher education, and explore how the indigenous music culture
has been hidden by foreign interest, colonialism, and war.
Listen to Joseph's Presentation
Supporting Content: Joseph's Faculty Statement (PDF) | Listen to Joseph's Introduction | Read Joseph's Research
Listen to Joseph's Presentation
Supporting Content: Joseph's Faculty Statement (PDF) | Listen to Joseph's Introduction | Read Joseph's Research
Collaborative Projects
Dancing the Juba: A Syncretism of African, American, and Western Classical Traditions in the Music of Florence Price
by Sandra Morales, Sean Elliott, Gerardo Sanchez Pastrana, Clayton Heinecke, School of Music
Faculty Mentor: Dr. Erin Ellis
Performance, January- March 2022
Abstract
Recognized as the first African American woman to have her music performed by a major
symphony orchestra, Florence Price is an icon of music history. Her work represents
a major achievement in the success of black female composers of the early twentieth
century, challenging established racial and gender stereotypes. As a composer who
studied within the Western Classical music tradition and who is well known for
her symphonies, concertos, vocal works, and chamber music, Price often incorporated
conventional European musical elements with the cultures of Jazz and African American
music. One prime example of this is the “Juba” movement in her symphonic and chamber
works, specifically her String Quartet No. 2 in A minor (1935), which replaces
the popular Minuet and Trio, or Scherzo, as the third movement of a work in the
classical form. In this piece, Price combines jazz harmonies with Juba rhythms
and organizes the material into a rounded binary form, a common compositional structure
from the Classical period. The evolution of the Juba rhythm is considered to have
been greatly influenced by the prohibition of the use of drums by slaves that were
brought to the Americas during the Transatlantic Slave Trade, and it has roots
in traditional African music. By unifying the culturally significant “Juba” rhythm
with contemporary Jazz influences and presenting them in the standard Classical
form, Price is able to make a bold social statement about the cross-cultural role
of the Juba dance and its ability to coexist with Western compositional values.
As performers, Price’s musical language presents a unique challenge. While many
expected classical idioms are present, the presence of the Juba dance showcases
the diversity of our art form and offers a glimpse into an often misunderstood
and misappropriated cultural world.
Listen to Dancing the Juba's Performance
Supporting Content: Dancing the Juba Faculty Statement (PDF) | Listen to Dancing the Juba's Introduction and Presentation
Listen to Dancing the Juba's Performance
Supporting Content: Dancing the Juba Faculty Statement (PDF) | Listen to Dancing the Juba's Introduction and Presentation
Environmental Music Therapy to Support Healthcare Professionals: A Response to Increased Burnout During Covid-19
Collaborative Award 1st Place
by Kathryn Roe and Emily Lehr, School of Music
Faculty Mentor: Hannah Ivey-Bush
Research project, Fall 2020-present
Abstract
Burnout can be a serious effect deriving from an intense and stressful work environment.
Decreasing burnout in healthcare professionals is important as it will not only
improve the quality of patient care provided but the mental and physical states
of those struggling with burnout. Music therapy is a multifaceted profession that
can tend to the presenting signs of burnout and its needs. In our study, music
therapy was provided to the health professionals of Ruby Memorial Hospital in Morgantown,
WV. While all staff was included, a special emphasis was placed on staff providing
care for covid positive patients. Music therapy services were provided by the music
therapy team to staff several times a week after which they were invited to take
a brief survey. The live music interventions consisted of client preferred music,
relaxation music played on guitar, and lyrical content related to improving mental
health. Our research methodology consisted of data collection and was compiled
to examine levels of anxiety, work-related stress, and workplace happiness. Projected
goals consisted of decreasing signs of intense stress and burnout of the healthcare
workers at the hospital and comparing results of different timelines of the virus
and vaccination status in WV. Another goal was to continue to build medical music
therapy and provide valuable information on staff wellness for other programs.
Keywords: burnout, music therapy, data collection
Keywords: burnout, music therapy, data collection
Supporting Content:
Kathryn and Emily's Faculty Statement (PDF)
Preserved in Clay and Stone: Celebrating the History of Ancient Latin America
Collaborative Award Honorable Mention
by Riley Klug and Samuel Hensley School of Art & Design
Faculty Mentor: Megan Leight
Exhibition organized for the Pettus Archive, Winthrop University, South Carolina; Students and faculty mentors were panelists presenting on works in the collection in-person in South Carolina, Fall 2021
Abstract
The Louise Pettus Archives was proud to celebrate Hispanic Heritage Month with the
opening of a new exhibit featuring the Salazar Latin American Artifacts Collection,
whose works date from the pre-Columbian era to the modern period. The exhibition
featured twenty objects that emphasized gender roles and animal imagery across
a variety of media including pottery, figurines, whistles, and stone sculptures.
Objects associated with food preparation were particularly notable with a metate
in the form of a crocodile used for grinding foodstuffs such as corn or chiles.
Pottery featured works likely contained in burials; early ceramic works exhibited
distinctive incised traditions while later ceramics coalesce with burgeoning polychrome
traditions. Figurines included plentiful painted details of clothing with 3-dimensional
volumetric areas for emphasizing bulbous body parts including eyes, ears, noses
and bellies. The thematic collection highlight not only monumental moments in the
lives of ancient pre-Columbian individuals but also items to assist with the mundane
tasks of daily life. Professor Megan Leight, Teaching Assistant Professor of Art
History, West Virginia University (WVU) participated in a panel discussion about
the collection, its history, and significance of the artifacts alongside Winthrop
Associate Professor Brent Woodfill. Professor Leight's undergraduate research students
at WVU, Riley (Red) Klug and Samuel Hensley, discussed specific works of art from
the collection they extensively researched including the crocodilian metate and
wind instruments called ocarinas. Attendees at the event were able to view the
portion of the Salazar collection on display and were encouraged to ask questions
of the presenters.
Preserved in Clay and Stone Research and Exhibit
Supporting Content: Riley and Samuel's Faculty Statement (PDF) | Riley and Samuel's Introduction
Preserved in Clay and Stone Research and Exhibit
Supporting Content: Riley and Samuel's Faculty Statement (PDF) | Riley and Samuel's Introduction