Natasha Marin

University of Southern California, Thornton School of Music, Graduate Student

Other Affiliations:
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Research Interests:
Comparative Musicology, World Musics, Music Cultures of the World, Music Education, World Music, Multicultural Music Education, Ethnomusicology, World Music Pedagogy, and 9 moreCross-Cultural Studies, Anthropology of Music and Social Antropology, Comparative Cultural Studies, Evolution and Human Behavior, Music Psychology, Psychology of Music, Sociology of Music, Ethnomusicology, and Musicologyedit
About:
I am a doctorate candidate at the University of Southern California, Thornton School of Music. My research focuses on a global approach in music education, history and theory, as well as cross-cultural and comparative studies. Professional Affiliations: International Society for Music Education (ISME) American Musicological Society (AMS) Early Music Am... moreI am a doctorate candidate at the University of Southern California, Thornton School of Music. My research focuses on a global approach in music education, history and theory, as well as cross-cultural and comparative studies.

Professional Affiliations:
International Society for Music Education (ISME)
American Musicological Society (AMS)
Early Music America (EMA)
Music Teachers Association of California (MTAC)
National Association for Music Education (NAfME)
Honor Society Member (honorsociety.org)
Education:
DMA, In Progress
University of Southern California, Thornton School of Music
Major- Piano Performance
Academic Minor- Music Teaching and Learning
Elective Minor- Early Music
Elective Minor- Electro-Acoustic Composition

M.M.
University of Southern California Los Angeles
Piano Performance

St. Petersburg State Conservatory, Russia
Piano Performance

More info: natashamarin.comedit
Advisors:
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Girolamo Frescobaldi Se l’aura spira (1613-1643) Cosi mi disprezzate Michel Lambert Vos mépris chaque jour (1610-1696) Par mes chants tristes et... more

Girolamo Frescobaldi Se l’aura spira
(1613-1643) Cosi mi disprezzate

Michel Lambert Vos mépris chaque jour
(1610-1696) Par mes chants tristes et touchants
Le repos, l’ombre, le silence
Tout l’univers obéït à l’amour

Giovanni Legrenzi “Lumi potete piangere” from Venere sopra un scoglio
(1626-1690)

Claudio Monteverdi Quel sguardo sdegnosetto
(1567-1643) Zefiro torna

Jean-Joseph Cassanéa Selections from Pièces de clavecin avec voix ou
de Mondonville violon op.5 1. Regna terrae, Cantate Deo
(1711-1772) 5. Paratum cor meum

Girolamo Frescobaldi “Balletto-Corrente-Passacagli” from Toccata
(1613-1643) d’intavolatura
Maddalena alla Croce

Louis-Nicolas Clérambault Gloria in excelsis Deo, C.99
(1676-1748)

Research Interests:
French Baroque Music, Baroque Music, Claudio Monteverdi, Baroque Vocal Music, Baroque Music Performance Practices, and 11 moreHarpsichord Music, Frescobaldi, Italian Baroque Music, Performance Practice Baroque Interpretation, Girolamo Frescobaldi, French baroque music and performance practice, Giovanni Legrenzi, French Airs De Cours, Michel Lambert, Jean-Joseph Cassanéa de Mondonville, and Louis Nicolas Clérambault

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This paper investigates the role of the comparative method in a global approach to music and music education. It is based on a literature review covering the history of the comparative method in music from early comparative musicology to ethnomusicology and recently proposed comparative models, and considers the implications of these developments for music education today.