A Concise Guide to Underrepresented Clarinet Literature: Chamber Edition

The origin for this project comes from perceived necessity. While arts institutions are putting forth more diverse and inclusive programming lists, they are usually not as organized and readily available as artists would like. This project focused on the college chamber musician/clarinetist; a pre – professional level player who is looking to diversify and contribute to the ongoing transformation of inclusive music. Chamber music is defined as a small ensemble that consists of 2-6 players, with only one player on every part. The main goal of this project was to find music written by BIPOC, LGBTQIA+ and Women composers to be added to the George Mason University Wind Chamber Library. Another goal of this project was to show that the main reason why these pieces are not being played is often due to lack of accessibility and the challenge level of the piece. In order to mitigate the obstacles of creating an unbiased project and to provide quantifiable data, the researcher created a rubric tailored specifically for this project. This rubric was able to curate pieces based on the following criteria: accessibility, rhythmic complexity, extended technique requirements and cost. Keep in mind, all of the categories listed are tailored to the undergraduate musician. By utilizing this rubric and listening to over 30 pieces of music within the research, the researcher was able to find 13 pieces of music with composers who have the backgrounds included in the study. The next step is to purchase the pieces of music and donate them to the library for future use. Through this project, future generations of woodwind musicians will be able to have a more diverse educational experience from both the pieces and the musicians who created them.

SLIDE #1 00:00:02.790 –> 00:00:12.120 Teresa C Jenkins: Hello, my name is Teresa Jenkins, I am currently a junior (going to be a senior) studying clarinet performance and a minor in arts management here at George Mason University. 00:00:12.630 –> 00:00:23.520 Teresa C Jenkins: Today, I will be presenting my project and my project is called a concise guide to underrepresented clarinet literature: Chamber music addition. 00:00:25.890 –> 00:00:45.540 Teresa C Jenkins: As I already stated, my project is completed by me Teresa Jenkins that’s me, and it is supported by my mentor Dr Kathy Mulcahy who is director of woodwinds and Professor of clarinet here at George mason university, so a little bit about my project. 00:00:47.400 –> 00:00:59.310 Teresa C Jenkins: Because I know that’s a long title and it has a lot of information in it but the origin for this project comes from perceived necessity, So what do I mean by that. 00:01:00.750 –> 00:01:08.550 Teresa C Jenkins: arts institutions, including our own here at George mason university are starting to put forth more diverse and inclusive programming lists. 00:01:09.180 –> 00:01:17.490 Teresa C Jenkins: And it’s usually not as organized and readily available as artists would like so programming list, for example, when you go to see a music concert there’s a list of works if pieces that the orchestra or whoever’s performing will be playing, so these lists are usually by composers, who maybe have been gone for a long time, for example, like Mozart Tchaikovsky Bach and a lot of them don’t have new composers, for example, Valerie Coleman Teresa Martin people like that, so this project is attempting to tackle this issue or contribute to the research towards this new challenge of new programming diverse programming and inclusive programming. ______________________________________________________________________________________________ SLIDE #2 00:01:59.640 –> 00:02:03.900 Teresa C Jenkins: In this project, I will be here: some mission and goals. 00:02:05.040 –> 00:02:12.180 Teresa C Jenkins: So the first one is defined pieces for woodwind Chamber musicians written by black, indigenous people of color. 00:02:13.200 –> 00:02:16.560 Teresa C Jenkins: LGBTQ and women, composers. 00:02:19.260 –> 00:02:28.050 Teresa C Jenkins: Then I am planning on purchasing these pieces and utilizing them in the George mason university when Chamber ensemble library. 00:02:32.160 –> 00:02:42.210 Teresa C Jenkins: My other goal is to find pieces, and this is really the main goal of this project is to find pieces that are playable for the undergraduate musician as well as digestible for an audience. 00:02:45.900 –> 00:02:56.970 Teresa C Jenkins: I would like to by finding these pieces create a concise guide and show how they are beneficial and usable for the undergraduate you and by usable I mean educational. 00:02:58.440 –> 00:03:03.540 Teresa C Jenkins: And then my plan is to donate these pieces to the George mason university woodwind Chamber library. 00:03:04.980 –> 00:03:16.560 Teresa C Jenkins: I also really need to educate myself and I enjoy learning about new composers with diverse backgrounds and identities and that was sort of half of the impetus for this project. ______________________________________________________________________________________________ SLIDE #3 00:03:18.690 –> 00:03:20.250 Teresa C Jenkins: So the inspiration. 00:03:21.300 –> 00:03:22.590 Teresa C Jenkins: So many new, 21st century works are too hard for the undergraduate musician. Who is the undergraduate musician? usually they’re straight out of high school so they’re 18 to 21 years old, or they could be older musicians, who came back to do a degree. 00:03:39.720 –> 00:03:43.110 Teresa C Jenkins: And they just tend to be too difficult and why is this? 00:03:44.670 –> 00:03:55.350 Teresa C Jenkins: The music that Mozart Bach Tchaikovsky was writing yes it’s very difficult, but in their time it had a different purpose, a different use. 00:03:55.740 –> 00:04:09.000 Teresa C Jenkins: Today musicians are learning these pieces at a younger age, because we have teaching techniques for them, but 21st century pieces tend to push the boundaries of technical requirements, as well as rhythmic requirements. 00:04:09.300 –> 00:04:19.260 Teresa C Jenkins: Making them extremely difficult for people like me or for pre professional musicians to learn, so how does my project go about mitigating these challenges? 00:04:19.830 –> 00:04:30.690 Teresa C Jenkins: I am searching through lists and lists list of composers and their pieces and listening to them and scoring them and I will be creating a new list of usable pieces for undergrads learn from so by listening through these pieces, one by one and scoring them on an original rubric which I’ll go over a little bit later. 00:04:42.210 –> 00:04:56.670 Teresa C Jenkins: I was able to create grounds for why piece was not appropriate for this age level so lack of accessibility from the musician themselves is another inspiring fact many times we’re overwhelmed. 00:04:57.450 –> 00:05:04.020 Teresa C Jenkins: You know, we we do it’s true we do spend a lot of times in the practice room and our teacher says, you know what piece, you want to play next. 00:05:04.470 –> 00:05:09.480 Teresa C Jenkins: And there are thousands, maybe even hundreds of thousands pieces of music out there. And it’s hard to find just one especially one when you have specific guidelines so i’m hoping to help kind of guide undergrads especially who play clarinet like me to find pieces that are educational fund and new. 00:05:25.200 –> 00:05:35.970 Teresa C Jenkins: So finding accessible diverse and playable works is a great way to create awareness and bring new composers with diverse boundaries and backgrounds into all of our musical lives. ______________________________________________________________________________________________ SLIDE #4 00:05:37.650 –> 00:05:48.360 Teresa C Jenkins: So let’s start from the very foundation here, some of you may have never even heard of a chamber group, so what is the Chamber group, and how does this project actively interact with them. 00:05:48.960 –> 00:05:58.020 Teresa C Jenkins: So a chamber group is a small, a smaller group you if we think big and then we bring it into little picture, a big picture, would be an orchestra. 00:05:58.380 –> 00:06:13.890 Teresa C Jenkins: Probably around you know 90 maybe 70-80 musicians on stage Okay, now we shrink that to a symphony orchestra they’re a little bit smaller they just have smaller numbers same amount of would win section a little bit smaller on the strings. 00:06:15.330 –> 00:06:23.100 Teresa C Jenkins: Then you strike that to Chamber orchestra, they are even smaller maybe they only have one of each string instrument. 00:06:23.490 –> 00:06:54.780 Teresa C Jenkins: And maybe one or two of each woodwind or brass instrument, now we get to a chamber group a chamber group is made up of two to six musicians and a woman Chamber group can be made up of any combination of instruments, but here are the most common it’s we have a clarinet a flute an oboe, A bassoon and a French Horn, so any of these instruments can be combinations so it do it can be played by a clarinet and a flute. 00:06:55.710 –> 00:07:07.200 Teresa C Jenkins: would win trio could be clarinet flute now oboe. I know French Horn is a little bit of a kind of wild card, but in would been Chamber groups, we do need something that can create. 00:07:08.730 –> 00:07:14.310 Teresa C Jenkins: cohesiveness and that base so that’s why French Horn, is there, but many times they are using women Chamber groups. ______________________________________________________________________________________________ SLIDE #5 00:07:15.330 –> 00:07:21.330 Teresa C Jenkins: So let’s get into the research portion of this, the creative process and research design. 00:07:22.710 –> 00:07:28.500 Teresa C Jenkins: Deep listening so throughout my projects, I started in June and I went all the way until mid July. 00:07:29.280 –> 00:07:54.750 Teresa C Jenkins: I, and I practiced this process, I would say throughout my undergraduate career is deep listening so deep listening occurs when you take you know, maybe the. Like the overcoming factor of you know, just like playing the actual instrument and you’re just listening to the piece there’s maybe no music in front of you sometimes there can be I have had music in front of me. 00:07:55.500 –> 00:08:10.800 Teresa C Jenkins: And you’re listening for maybe things like hey I like the way the composer wrote that or that’s a cool dynamic element you’re listening for all of these little subtle details that make up the whole the whole piece. 00:08:12.450 –> 00:08:26.460 Teresa C Jenkins: So compatibility and accessibility, our focal points of this project and the criteria that makes up these two pillars are as follows diversity of composers that’s going back to bypass LGBTQIA+ and women, composers. 00:08:26.910 –> 00:08:31.920 Teresa C Jenkins: Quality of music um that will be explained a little bit later in my rubric. 00:08:32.310 –> 00:08:46.770 Teresa C Jenkins: Accessibility from the undergraduate musician can they email this person can they email this composer and say hi i’m an undergrad from here, and I would like to play your piece in a concert, can they buy it from a publisher almost like a book. 00:08:47.880 –> 00:08:54.750 Teresa C Jenkins: and practicality, is it educational will audience enjoy it I know a lot of times we make it seem like musicians are the only ones that enjoy the music but. We do, in some ways, live for the audience so we’re looking to find pieces that are exciting that can connect and things that and ways that we can share with the audience. 00:09:08.340 –> 00:09:21.300 Teresa C Jenkins: So my research my resources for this project or a laptop I had about two notebooks for notes a printer for my rubric headphones I had pretty good headphones I had things that you know I could. 00:09:21.930 –> 00:09:33.330 Teresa C Jenkins: tailor how I wanted to listen, a predictor and rubric Oh, I said preacher twice it’s easy, but these were, this is a pretty simple project in that I could. ______________________________________________________________________________________________ SLIDE #6 00:09:34.110 –> 00:09:45.240 Teresa C Jenkins: You know, really make the most of what I had already so some observations from the project well when we talk about research design with this project. 00:09:45.780 –> 00:09:55.500 Teresa C Jenkins: I had the dilemma of trying to find databases trying to find composers lists and all these other things. 00:09:56.400 –> 00:10:09.570 Teresa C Jenkins: I mean if I probably everyone has done some sort of research before it’s not very effective to just Google, composers with bipolar origins. 00:10:10.110 –> 00:10:31.350 Teresa C Jenkins: Because this is the main observation that I made my entire project people don’t just have one background they have numerous backgrounds so it’s really hard, To find somebody with just a bypass background, because they put themselves out as having all these other backgrounds, because we’re multi dimensional humans so. 00:10:32.010 –> 00:10:45.990 Teresa C Jenkins: What I did, though, was I looked for databases, because what databases do they’re like a sieve they’ll just find the information that we want they’ll tell us about it it’s a quick, effective way to find pieces. 00:10:46.500 –> 00:10:59.460 Teresa C Jenkins: So, the main one that I found was international composers database and it’s created by suny fredonia is in New York and I’m also from New York, so this this was close to my heart, but. 00:11:00.180 –> 00:11:06.660 Teresa C Jenkins: The International, the Internet, excuse me Institute for composer diversity that’s what they recalled. 00:11:07.020 –> 00:11:22.500 Teresa C Jenkins: It is a search engine where you put in, you can like toggle with all of the different aspects of a composer so you could put maybe you were looking for composers, who were still alive so younger people, older people who were still alive. 00:11:23.460 –> 00:11:34.950 Teresa C Jenkins: Maybe you’re looking for like I was you’re looking for a certain background and you’re looking for a certain group of musicians to play this piece, you could put all of those into the search engine. 00:11:35.490 –> 00:11:46.380 Teresa C Jenkins: And you would be able to maybe come out with a result, I would say one thing that I ran into at this was it took me a little while to figure out how to use it, you cannot put, unfortunately. 00:11:46.740 –> 00:11:54.780 Teresa C Jenkins: Everything you’re looking into into this database, because it will look for a person that has all of those characteristics. 00:11:55.740 –> 00:12:03.330 Teresa C Jenkins: likely probably 99% of the time that person doesn’t exist or they don’t write music or they don’t have something else. 00:12:03.720 –> 00:12:13.950 Teresa C Jenkins: That you’re looking for, so what I did was I went by one by one, I went by you know, maybe I was looking for non binary composers and I clicked non binary. 00:12:14.400 –> 00:12:36.060 Teresa C Jenkins: But I want them for woodwind Chamber groups duets, small things like that and I got a lot of results and you’ll see some of these results that I got towards the end of this presentation next place, I found things was in university of Toronto library they had a list that was readily available, I was able to go through. 00:12:36.300 –> 00:12:39.480 Teresa C Jenkins: and read, and it was kind of like what I did what i’m doing for my project. 00:12:39.840 –> 00:12:48.360 Teresa C Jenkins: YouTube is a wonderful resource, you can get a lot out of YouTube and you can get absolutely nothing it’s like any other database that you find. 00:12:48.720 –> 00:12:59.280 Teresa C Jenkins: But YouTube is a great resource for finding recordings and listening to them because that’s, the most important part of the piece it’s really hard it takes a person. 00:12:59.730 –> 00:13:07.440 Teresa C Jenkins: Maybe with more education than I have to sit down and just look at a piece of music and know exactly how it sounds like those people are hard to come by. 00:13:07.920 –> 00:13:13.650 Teresa C Jenkins: Their names usually like Wolfgang Amadeus Mozart or people like that so. 00:13:14.550 –> 00:13:23.400 Teresa C Jenkins: that’s what I did, and I ended up finding these other databases, like the African composer database, people from the continent of Africa who write music. 00:13:23.970 –> 00:13:34.860 Teresa C Jenkins: So something that I found, and this is just an observation that if we were to dive a little bit deeper into this project is that many composers of African descent, I was lucky to find two. 00:13:35.880 –> 00:13:46.140 Teresa C Jenkins: Who suited what I was looking for they write music for the Church, rather than for general music usage so rather than what I was looking for maybe an educational use. 00:13:46.440 –> 00:13:58.050 Teresa C Jenkins: They tend to write music for their church institutions religious institutions and other things that maybe we aren’t looking for when it comes to this project, without which has like A specific lens. 00:13:58.590 –> 00:14:12.810 Teresa C Jenkins: Another observation that I found was there’s a ton of new music out there, probably more than we could ever think about and it’s everywhere, but not every piece suits our needs as an undergraduate player. ______________________________________________________________________________________________ SLIDE #7 00:14:13.740 –> 00:14:20.340 Teresa C Jenkins: So, moving on the puzzle this project became a little bit of a puzzle in some aspects. 00:14:21.660 –> 00:14:33.660 Teresa C Jenkins: And they included databases, as I described my rubric tendencies I created a rubric that was scaled on one to four. 00:14:34.200 –> 00:14:46.680 Teresa C Jenkins: And had all of these different like probably like five different categories, but sometimes no rubric is absolutely perfect that is impossible to create one like that so. 00:14:47.100 –> 00:15:02.790 Teresa C Jenkins: A lot of times things could score high on my rubric but maybe I didn’t want the piece, you know, maybe it was boring, maybe me boring for my taste, but maybe it didn’t have exactly what I was looking for. 00:15:04.020 –> 00:15:18.150 Teresa C Jenkins: Maybe the piece scored really low in one aspect but really high and all the other aspects. The rubric created a balance, rather than a answer to my questions. 00:15:19.980 –> 00:15:26.550 Teresa C Jenkins: difficulty of pieces, a lot of times there was a little bit of a letdown to be listening to a piece for about you know 10 minutes and say. 00:15:26.880 –> 00:15:37.050 Teresa C Jenkins: wow this pieces on this piece can be a big contender for this project, and I start looking into you know the composer I look into their credentials, I mean. 00:15:37.440 –> 00:15:56.100 Teresa C Jenkins: Many of these people have tons of musical credentials and they’re interesting people and then i’m still listening to the piece at this time and it just takes off it’s not going to be educational at that point, based on rhythm based on tempo based on facility things like that. 00:15:57.720 –> 00:16:14.040 Teresa C Jenkins: So, like I have previously stated, this was solved by the discovery of this composer diversity database, I was so pleased to find this database and I feel like I could do a whole other research project just based on this database. ______________________________________________________________________________________________ SLIDE #8 00:16:15.870 –> 00:16:29.460 Teresa C Jenkins: So scoring and rubric and by scoring I don’t mean like a plus and things like that, but kind of in that way, so let’s take a look at my rubric. 00:16:31.980 –> 00:16:33.870 Teresa C Jenkins: let’s see if I can. 00:16:36.720 –> 00:16:39.030 Teresa C Jenkins: share this rubric. 00:16:40.470 –> 00:16:41.430 Teresa C Jenkins: with you. 00:16:42.810 –> 00:16:46.320 Teresa C Jenkins: Okay, here is my rubric. **SHOWING THE RUBRIC** 00:16:48.450 –> 00:17:08.490 Teresa C Jenkins: And here’s what it was based on, so my categories low playability too high playability well, what does that mean, so you need to quantify that a little bit more so accessibility for the College student is there the right amount of you know. 00:17:10.950 –> 00:17:21.060 Teresa C Jenkins: Number of musicians are there, the right amount of them, or is it too much does it have 20 or more instrumental requirements that’s really hard for an undergrad I mean. 00:17:21.480 –> 00:17:30.360 Teresa C Jenkins: we’re a small music school here at George mason university we’re small we’re mighty, we have a lot of talented players, but to get 20 people by yourself in a room. 00:17:30.720 –> 00:17:36.720 Teresa C Jenkins: takes a lot so maybe that piece has a low playability mark, because it doesn’t do that. 00:17:37.710 –> 00:17:44.940 Teresa C Jenkins: And it kind of goes through from one extreme to the next, so this would be maybe not a good idea, but this one over here. 00:17:45.450 –> 00:17:53.850 Teresa C Jenkins: The piece contains a high playability mark, because it has common instrumentation maybe it’s just for clarinet and flute and so that’s what. 00:17:54.600 –> 00:18:06.840 Teresa C Jenkins: makes it high there’s there’s so many pieces written out there for clarinet and flute and I could just say to a close friend of mine who plays flute you want to play this piece with me and nine out of 10 times you would be able to do that. 00:18:08.310 –> 00:18:19.590 Teresa C Jenkins: So going down we go through rhythmic complexity extended technique requirements facility requirements and costs and then I left a little bit of room for notes. 00:18:22.110 –> 00:18:31.590 Teresa C Jenkins: So if we go back and these are all before i’m going to quickly um rhythmic complexity is you know when you think of. 00:18:34.440 –> 00:18:47.100 Teresa C Jenkins: We think of drums how a piece, you know works with within that and there’s a certain tempo and you have to stick with that and that affects like how fast or slow you play things extended techniques are techniques that are beyond. 00:18:48.090 –> 00:18:54.420 Teresa C Jenkins: You know your instrument so rhapsody in blue has this famous glissando that’s an extended technique. 00:18:55.260 –> 00:19:01.980 Teresa C Jenkins: whistling can be an extended technique I can’t whistle snapping isn’t clapping our extended techniques. 00:19:02.820 –> 00:19:16.620 Teresa C Jenkins: Facility requirements, so how technical is the piece is it like super technical where everything’s fast and there’s maybe not good combinations or is it pretty doable in that things just like move into each other. **BACK TO THE POWERPOINT PRESENTATION** 00:19:18.000 –> 00:19:20.940 Teresa C Jenkins: Going back to my presentation. 00:19:24.660 –> 00:19:33.480 Teresa C Jenkins: So I used this rubric to keep track of information and data and by utilizing a rubric I hope to. 00:19:34.020 –> 00:19:48.210 Teresa C Jenkins: I hoped to overcome some research obstacles, I wanted to create a level playing field to score each of the pieces. I want to keep my own biases maybe even like I said, even if I didn’t like a piece, but it scored really well and it had everything I was looking for. 00:19:48.810 –> 00:19:56.760 Teresa C Jenkins: Why not maybe somebody else will find enjoyment out of it, so this rubric helped me separate my own opinions from the research. 00:19:57.240 –> 00:20:10.230 Teresa C Jenkins: And i’m looking to be able to explain what makes a piece too difficult and too easy, so this would help balance out the extremes and I also wanted to create data and numbers for the research project because it is research at the end of the day. ______________________________________________________________________________________________ SLIDE #9 00:20:11.910 –> 00:20:15.630 Teresa C Jenkins: So here’s the data for the identities and backgrounds of pieces that were purchased. 00:20:16.530 –> 00:20:31.230 Teresa C Jenkins: here’s a little graph keep in mind, none of these people are singular so their backgrounds could also be I did end up like I said finding some African composers, maybe they were they were they identified as women. 00:20:32.490 –> 00:20:43.740 Teresa C Jenkins: But they were also part of the LGBTQ Community or they were part of the bypass community, they were also black things like that it’s really hard, I would say to show. 00:20:44.490 –> 00:20:54.270 Teresa C Jenkins: A graph like this, I would say it’s a flawed representation, but it’s a good representation, just to see the very like skeleton of what I found. ______________________________________________________________________________________________ SLIDE #10 00:20:55.530 –> 00:21:05.580 Teresa C Jenkins: So here was an example of some of the pieces that I found i’ll show you really quick a rubric actually no um yeah. 00:21:09.750 –> 00:21:10.260 it’ll work. 00:21:12.660 –> 00:21:28.860 Teresa C Jenkins: I don’t think it’s gonna work unfortunately sorry about that and then here is a I will include this in my abstract so that you may be able to look at it, here is my here’s like a sample that we could listen to, we could take a quick listen into. 00:21:30.270 –> 00:21:35.370 Teresa C Jenkins: This is Sarah boxing three and she works at I believe a university in Washington. 00:21:36.990 –> 00:21:38.370 Teresa C Jenkins: And when we’ll. 00:21:39.600 –> 00:21:41.160 Teresa C Jenkins: play a little bit of this for you. **PLAYED A RECORDING** 00:22:03.660 –> 00:22:05.100 Teresa C Jenkins: there’s a little bit of that. **SHOWED A SAMPLE COMPLETER RUBRIC** 00:22:06.720 –> 00:22:17.760 Teresa C Jenkins: I will share my screen on my sample rubric I was actually able to open it, this is for another piece, that is included in that slide called and it’s by yoshi weinberg who. 00:22:18.810 –> 00:22:26.220 Teresa C Jenkins: is a part of the LGBT Q plus Community they wrote a piece called two pieces for flute clarinet and piano. 00:22:27.210 –> 00:22:40.530 Teresa C Jenkins: So it contains a high playability mark because flute clarinet and piano are all instruments that a majority of music schools have they have students that play that piece the rhythmic complexity is not too much to be asked. 00:22:41.760 –> 00:22:50.820 Teresa C Jenkins: I wrote some notes at the bottom here talking about how it was perfect for a freshman music musician Maybe someone who is in that 1819. 00:22:51.180 –> 00:23:02.610 Teresa C Jenkins: age category and they’re really learning how to be a professional musician it’s docile it’s relaxed it’s something that doesn’t take too too much effort but it’s still beautiful and it’s good. 00:23:03.060 –> 00:23:13.200 Teresa C Jenkins: A good learning experience and then for costs a lot of times I can find cost, I would have to email, the person themselves, so I will email Yoshi myself in a couple days. **END OF SAMPLE RUBRIC SHOWING** 00:23:14.820 –> 00:23:16.410 Teresa C Jenkins: And then wrapping this up. 00:23:19.020 –> 00:23:30.060 Teresa C Jenkins: So throughout the project I listened to over 30 pieces of music at this point, I really can’t tell you an exact amount, because some I chose just not to score at all. 00:23:30.570 –> 00:23:42.120 Teresa C Jenkins: But I scored around 25 pieces for my rubric I found around 13 pieces to buy and now it’s very exciting, because my goal was around 10 to 15 so I hit right in the middle of the mark. ______________________________________________________________________________________________ SLIDE #11 00:23:43.560 –> 00:23:51.750 Teresa C Jenkins: So tying up some loose ends and talks a little bit more about some observations you probably wondering what happened to my concise guide that I talked about at the beginning. 00:23:52.350 –> 00:24:07.110 Teresa C Jenkins: That is in the works as of right now I will once I get my hands on all of those pieces, I will be creating my concise guide that shows where all these people are from their backgrounds their identities and what makes these pieces good pieces. 00:24:09.000 –> 00:24:15.810 Teresa C Jenkins: So how am I purchasing the pieces? I’m purchasing them through emails websites and publishers um. 00:24:16.470 –> 00:24:28.020 Teresa C Jenkins: that’s probably the easiest way, a lot of these people aren’t published so they sell their music through their websites, they give their music out for free, sometimes, and you have to pay for the rights, maybe when you go to use it. 00:24:29.280 –> 00:24:35.520 Teresa C Jenkins: Wherever these pieces be going there’ll be going to the George mason university wind literature library and. 00:24:36.570 –> 00:24:46.740 Teresa C Jenkins: categorizing people, as I said before, this is an observation is difficult because people are multi dimensional they have a lot of different backgrounds. 00:24:48.210 –> 00:24:55.080 Teresa C Jenkins: And was my rubric fair did that end up working out did it help decide if I wanted to buy pieces yeah. 00:24:55.590 –> 00:25:04.230 Teresa C Jenkins: I would say it was definitely a successful rubric in that it helped me to distinguish whether or not a piece was. 00:25:04.710 –> 00:25:14.100 Teresa C Jenkins: worth buying not numerically I would say, but based on I could write down my thoughts, you know I like I said 30 minutes of music could mean I listened to you know, like. 00:25:14.760 –> 00:25:20.430 Teresa C Jenkins: 10 hours of music in us and depending on or maybe not 10 hours, but maybe six hours of music. 00:25:20.820 –> 00:25:34.110 Teresa C Jenkins: In a short amount of time and I didn’t sit down and listen to that all that once that was over a large period of time about two months, or maybe a month and a half, so I needed a way to keep track of everything and that really helped me. ______________________________________________________________________________________________ SLIDE #12 00:25:36.030 –> 00:25:43.380 Teresa C Jenkins: So lastly i’d like to give some thank yous to people i’d like to thank Dr Karen T Lee. 00:25:44.010 –> 00:25:50.520 Teresa C Jenkins: For all her patience and kindness and expertise and support she really led us throughout a really great summer of Oscar. 00:25:50.820 –> 00:25:57.990 Teresa C Jenkins: Things and she also had a lot of expertise, thank you to my mentor Dr Kathy will K, for all her support and for suggesting that I apply for this grant. 00:25:58.410 –> 00:26:04.890 Teresa C Jenkins: And thank you to all of you who viewed this video I truly hope you enjoyed learning about underrepresented, composers and listening to the music. 00:26:05.310 –> 00:26:15.780 Teresa C Jenkins: If you have any questions, please don’t hesitate to let me know I know there’ll be a comment section underneath this presentation and stay safe for everyone, and I hope to meet you in person, one day. 00:26:16.830 –> 00:26:17.700 Teresa C Jenkins: Thank you! **END OF VIDEO**