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Education

• Focusing on Wanda Landowska, Glenn Gould and Sting, i Address Aesthetic Contemporary Notions of Early-Music Performance Practice. i View Their Early-Music Recordings Through Two Different but Interrelated Lenses: Sound and Otherness. by Comparing Landowska’S Performances to Those of Gould not Just in Terms of Instruments but of Rhythmic Projection, Structural Articulation, and Other Musical Choices, A Definable Early-Music Sound Emerges. it Becomes A Sonically Identifiable Phenomenon Transmitted by Performers of Various Training, Affiliations, and Epochs, Rather Than A Loosely Connected Politicized Movement Precariously Perched on Claims of Historical (Authenticity) and Timbrel (Period Instruments) Grounds. i Illuminate This Sound Within the Context of A Performed Otherness, Signified by Exotic Instruments, Style, and Attitude, Focusing on Landowska’S Harpsichord Reception, Comparing it to the Reception of Gould’S Individualized Bach Recordings and Sting’S Recording of Dowland Songs.
• Thesis: “J.S. Bach’S Chromatic Brass Contradiction: Identifying Bach'S Intend Brass Instrument for the Performance of His Non-Harmonic Series Chorales, Arias, and Choruses” Susan Williams, Advisor
• as A Trumpet Performance Major at the University of Northern Iowa, i Studied Classical and Jazz Music.