Several of Kathryn's research articles discussing cross-cultural influences in various composers' works are summarized below. Links are provided to full articles. 

 

"Recovering Disembodied Spirits: Teaching Movement to Musicians" by Kathryn Woodard

  

This article published in the British Journal of Music Education discusses the neuromuscular processes in learning music and the importance of training movement in music lessons. Kathryn draws on her own experiences learning the Alexander Technique and Body Mapping and uses case studies from her own teaching to illustrate concepts. Access the article here

 

 "Music Mediating Politics in Turkey: The Case of Ahmed Adnan Saygun" by Kathryn Woodard

 

This article published in Comparative Studies of South Asia, Africa and the Middle East discusses Saygun's role as a cultural figurehead in Turkey and analyzes high-profile performances of two major works - Özsoy (an opera) and the Yunus Emre Oratorio (performed at the U.N. and Vatican) - as a means for establishing political alliances for the Turkish Republic. Access the article here

 

"Music in the Ottoman Imperial Harem and the Life of Composer Leyla Saz" by Kathryn Woodard

 

This article sheds light on the introduction of Western music to the Ottoman palace in the nineteenth century and on the access women had to education in the Imperial harem. It relies on the memoirs of Leyla Saz, a prominent composer of Ottoman music who was raised in the palace. It also discusses two of her works, one in Ottoman song form and the other a Western march but with the use of Turkish modes. Originally published in the IAWM Journal, you can access a revised version of the article here

 

Arrangements of Saz's "Victory March" from 1908 are available for purchase from SheetMusicPlus.com.

 

Whether learning about Leyla Saz's March from 1908 or Saygun's works from later decades, this interactive map is an excellent illustration of the transition that occurred in Turkey in the early twentieth century.

 

"The Pianist's Body at Work: Sound and Meaning in Frederic Rzewski's Winnsboro Cotton Mill Blues"  by Kathryn Woodard

Discusses Rzewski's varied settings of the industrial folk song and his interpretation of the song's lyrics through sound mimesis, specifically hand and forearm clusters, which evoke the sound of a cotton mill. This extended passage also provides a physical representation and identification with the song's lyrics on the part of the pianist - making him/her the protagonist of Rzewski's setting of the song. Originally published in the edited volume, Sonic Mediations, the article can be accessed through academia.edu

 

 

 

 

 

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~Listen to Victory March by Leyla Saz arranged for concert band at And We Were Heard...

 

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