DOCSLIB.ORG

September 1941) James Francis Cooke

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
September 1941) James Francis Cooke Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 9-1-1941 Volume 59, Number 09 (September 1941) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 59, Number 09 (September 1941)." , (1941). https://digitalcommons.gardner-webb.edu/etude/246 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. ! . ^ .. 1M „ i published Monthly MUSI FKi sSEK CO . PHILADELPHIA, by THEODORE Pa, EDITORIAL ISO ADVISORY STAFF II OK JAMES FRANCIS COOL! Uitoi THE Guy McCoy and Helen MacVschic, Ailiilml EJ.ier, William M. Pd Henry S. Fry Robert Braine Dr. Frier Huf* Rt«] W.r . I .... •••V* William>* Pietro Dciro Karl HUim U,1). HtY*Rrvdlj Elizabeth lieu N. Oiifurd Par* Dr. Nicholas Douty Henry S. Si.-vet Georjte C. Kridt Dr. Rub Roy Perry FOUNDED 188 S i y Theodore pkessek COMPANY, un- HEIFETZ, in a THE MEXICAN OPERA JASCHA HERE. THERE AND EVERYWHERE IN for- the direction of Franz Steiner, recent interview in the der J of the Vienna State Philadelphia Evening THE MUSICAL WORLD merly director successful first season said, “A Opera, had a most Public Ledger, with during the summer. The entire cast, child of three or four Is exception of one singer, was native Contents for September, 1941 more capable of assimi- the trained at the National great music than THE NATIONAL MUSIC CAMP at Inter- ROBERT AND GABY CASADESUS, the Mexican and lating soprano, Irma N*. © rates 25 rsvr* Conservatory. The young VOLUME 1-1 V an adult, I should start lochen, Michigan, had an enrollment of French pianists, spent the summer in the leading role in The inexperienced over four hundred students this summer. Newport, Rhode Island, where they Gonzalez, sang a young or Bartered Bride which is Magic Flute” and “The WORLD OF MUSIC child off with Bach, Boys and girls came from forty-one taught at St. George’s School, Jascha and won ovations with both perfoim- HlfflTZ Bach. to study and the summer headquarters of the Bach and more states, Canada and Hawaii, now Civic EDITORIAL ances. Carl Alwin of the Chicago profound, Bach, to my to play and to live Music. The camp's Fontainebleau Alumni Association School Putting Asset* to Work. .... simple as he is 585 ,1s Opera conducted the orchestra, and Wil- A B C of any musical edu- National High School Orchestra broad- of Music. YOUTH AND MUSIC Bit, is the helm von Wymetal of the Metropolitan, Heifetz remarked. He and cast weekly Sunday concerts under the Music nt Bryn Mswr ation,” Mr. San 584 CASTAGNA, Curtis Institute, the Philadelphia, have, from the beginning, direction of Dr. Joseph E. Maddy, the BRUNA Its. Heifetz Com- MUSIC AND CULTURE con- Francisco, and Chicago Opera concerts and have director, who was assisted by sev- the Metropolitan Stop Ilirt«*r? aken their children to camp Will Beethoven 586 acted as stage director. Momentous Musical through conductors, among them: tralto, spent a part of panies, M Most given them only the best music eral guest i The 1 reader I he ' if lifted in South 589 over the air. They feel Frederick Stock, Howard Hanson, Guy the summer i'uwpi **i recordings and RuHHlnn Xntlonnllxt M*. Hill 51 sang directed a gala •no* •rlc Wil- America, where she SERGE KOUSSEVITZKY Musical lml pend for Am V**: 591 iM “by dipping them into a bath of Fraser Harrison, Paul Whiteman, 15th by the Boston providing their Revelli and Fabien Sevitzky. Leonora in Donizetti’s concert on August MUSIC IN THE HOME >wd music now, we are liam D. Favorita” at the Orchestra, during the Berk- % o “La Symphony A Rich Library of N w \fn* -r It- /VI •A fieri 592 growing minds with the best safeguard !»«• N«* ful- Festival at Tanglewood, Exceptional Music on f H-idl«» l*rya 593 violin- Teatro Colon and shire Symphonic i mind can have—good taste. For the GEORGES F.NESCO, Rumanian New and Lavish Muslenl Kiln * benefit of ($4 German Gov- filled numerous other Lenox, Massachusetts, for the The Etude Music Lover's Hookatirlf rest of their lives, when anyone says ist-composer, whom the 595 the Tea- Service Organizations and passport to this coun- Bruna engagements at the United ‘Music’ to them, they will be bound to ernment denied a P MUSIC AND STUDY Castagna Rio The entire Fes- months ago t ro Municipale in the British War Relief. think of the composers they know : Bach last year, wrote several The Teacher's Uotiti'l Table . \h try 596 outstanding success, and A Technic of the I t«*l Canto. de Janeiro. tival was an ini Beethoven, Mozart and Haydn, to his manager, Arthur Willmore: “My a Chonln’s Unusual Ten« hlng M«-tln«l< Silbr 598 alone was attended y and of during the first week s Handel and Gluck.” wife is still dreaming of America A Chat whti the Aspiring Ur;ai l«t . 'h(ffin 599 symphonic version of approximately twenty-six thousand Inst riiuieutal Ailnptat > KERN’S by Ion ami Aplltu Th Krrelli 64*1 our friends there. I try to forget hard JEROME Great Musical Women of l (iisicr m Boat” will be given its premiere people. Quest ions THE “STARLIGHT" Ml SIC times writing scores as much as I can. “Show ami Answers. ehrkai' m CHAMBER Once there was a little girl Symphony Orchestra named Betty keyboard w ith her right, and found that How to Study Srhubert ? r by the Cleveland Son Aitkn 605 Concerts at Meridian Hill Park, Wash- It is good for me.” Adventures * whose family owned a piano. One rainy the two kinds of a Vlnloti. ||Ut yUwit 607 the direction of Artur Rodzinski SYMPHONY' ORCHES- of music blended beauti- higton, D. under THE PALESTINE Putting Songs Aor »** * c„ during July and August, th F.-.t hu-ht 608 this day as Betty was idly“ playing” the piano jully. And it was all easy! The Teehnle of asked Mr. Kern to compose new Bi'onislaw Hubermann so the Mouth Sixth* , V«nt 629 presented the Perole BOEDER, for fourteen years who TRA, founded by Choosing an Quartet, the Gor- CARL M. with one finger (and getting rather bored Aeeordh-tt Career xt litin 639 version of his musical play. Dr. Rodzin- over five hundred con- That ends the story — except oon Quartet, the Juilliard School of in 1936, has given that Betty The Carcass! 641 Trapp Family Singers the faculty of the Guitar M -ihml ! And on with it), a marvelous thing happened. ski has always admired Mr. Kern’s score two hundred of which have and her Mother and Dad are all having mi the Koiisch Quartet. Music, has been appointed Dean of the certs, over Suddenly, near the right hand end of the MUSIC has already been quoted as saying: the war started. the time of their lives making rich, color- Guild of Piano Teachers. and been given since Clast ir anti Content por«n Salactimam National beautiful keyboard, another keyboard appeared ful “It is already a classic. It is music with the amazing Hammond Fragments 6"9 Allegro con music, and I de- Wide-eyed, wondering what in the brio, froi i Simi»h..r»\ \ ft-ptm 616 well- music, and American in Solovox attached to their ow n piano. And Ballet LUCY MONROE, RUSSELL BENNETT’S “Symphony D in Wl.lt e. Irimm 612 when it is world would happen next, she pressed Off for light in it. I do not see why, the so will you! Play the Solovox today the limit »*>* Fnmi 614 known soprano, was re- for the Dodgers” was presented by at play waltzes, Gavotta Poinposa • ro*(ll 615 appropriate to a key. Was that violin music? ..... 1 1 , considered Or- No, but it any . (vyuidi director -Symphony piano dealer’s, or w rite for informa- Viennese demand, ui uie rirsi X'lai cently appointed New York Philharmonic Whisper*. ri* W rif/h t 616 concerts, sounded like it. She tried by Johann Strauss at symphony another key . tion to: Limpid Waters 617 *e Concerto” department at Lewisohn Stadium during the Hammond Instrument Company. 4 i # tread by the much neglec of the new chestra Vocal and waltzes and other dance melodies, and another . and found it was like Instrumental C f>», titans ™ Century Ameri- the baseball announcer as 2929 N. Western Avenue, Chicago. am Irish composer. Fie of patriotic and summer, with a A Prayer for 618 John River, Guidance i Vo,- ill ’>« Letter songs, such as OV Man playing piano except that instead of ® the Ra- and the Barber, the an- — Arkansaw Traveler (Cornet Columbia Broadcasting Systei can music with the the unique soloist. Red «»r Tru Boat,’ should not figure in an just short tones there were lovely sing- Easily attached Tenor Sax.. Bb symphonic from ‘Show to anypiano Trombone „r ft, program, August dio Corporation of Amer- nouncer for the Dodgers over WOR, ap- Clarinet 620 3rd. Jc of our A, ; ir.AVr orchestral version ing tones. Does not . .A Arr. «4 was will authoritative Giants affect piano’s normal The Rose 621 bom new* duties peared in the final movement.
Load more

Recommended publications
  • In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
    In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998).
    [Show full text]
  • Jazz Record Buyer's Guide
    Chicago youngsters who dug Oliver, Noone, a Middle Eastern flavor; Flamenco and All Schroeder, piano; Milt Hinton bass; Cliff I . cmu Panama Francis, drums. and Armstrong on the south side. Blues reflect ■ strong Ravel influence. Rating: + Ar + lhe two instrumentalists who seem to Flamenco and Freeloader are both blues, This is a new label stemming from stand out on these sides and whose plating but each is of a different mood and con­ Grand Award and commandeered bv for­ is good listening, regardless of the year, ception Sketches is in (i/8. which achieves mer commercial bandleader Enoch I ight. arc Russell and Freeman Otherwise, as a rolling, highly charged effect, while Free­ There is definite concentration on an effort Thomas Wolfe said, "you can't go home loader is more in the conventional blues to improve sound reproduction, sound again. ’ Even musically. l he jazz excite­ vein, l he presence of kellv on / rceloader fidelity is achieved with multiple tvpes of ment is gone unless vou coniine your in- mav account partly for the difference be- microphones, custom typing the mikes to terest statistically to a period, certain tween the two. the particular instruments. jazz soloists exclusively. And that is not Miles’ 'playing throughout thc album is Doolev is a well known Dixieland horn too rewarding. poignant, sensitive, and, at times, almost man around New \otk who has bis own the The thing that amazes is that in morose:. his linear concept never falters. band, lhe striking back feature apparent­ two pictures on the back of the album Coltrane has some interesting solos; his ly is a crack at such bands as the Dukes cover, Condon looks younger in 1959 than angrv solo on Freeloader is in marked con­ of Dixieland that have made n on sound he did in 1939.
    [Show full text]
  • Hip-Hop Timeline 1973 – Kool Herc Deejays His First Party in the Bronx
    Hip-hop Timeline ➢ 1973 – Kool Herc deejays his first party in the Bronx, where his blending of breaks is first exhibited. The break dancers in attendance began to discover their style and form. ➢ 1975 – Grandmaster Flash begins the early forms of Turntabilism by blending and mixing, while Grandwizard Theodore invents what we now know as scratching. The first Emcee crews are formed. ➢ 1979 – The Sugarhill Gang, under the guidance of record label owner and former vocalist Sylvia Robinson, release Rapper’s Delight, the first commercially recognized rap song. *There is much debate over the first recorded rap song, but it’s widely believed to have been done sometime in 1977 or 1978. ➢ 1980 – Kurtis Blow releases the first best selling hip-hop album, The Breaks, and becomes the first star in hip-hop music. ➢ 1983 – Herbie Hancock, in collaboration with pioneer DeeJay GrandMixer DST (now known as GrandMixer DXT), creates the Grammy Award-winning song Rockit, which is the first time the public ever hears a DeeJay scratching on record. Pioneer hip-hop duo Run DMC releases their first single Sucker Emcee’s. ➢ 1988 – This year is considered the first golden year in hip-hop music with releases such as Public Enemy’s It Takes A Nation of Millions to Hold Us Back, Big Daddy Kane’s Long Live The Kane, Slick Rick’s The Great Adventures of Slick Rick, Boogie Down Production’s By All Means Necessary, Eric B And Rakim’s Follow the Leader and the first highly regarded non-New York hip-hop record, N.W.A.’s Straight Outta Compton.
    [Show full text]
  • Chris Dempsey
    August 2007 Issue No. 150 13 Years Serving the Jazz Community 15TH ANNUAL ERIE ART MUSEUM JAZZERIE BLUES & JAZZ FESTIVAL MEMBERSHIP Saturday, August 4 and Sunday, August 5 -Its Time to Renew!!! Frontier Park - Noon til 10 p.m each day August is the month to renew your SCHEDULE Headliner for JazzErie membership, which will expire this day of jazz (8:00 on Sept. 1, 2007. You can return the Saturday, August 4 – Blues day – 10:00 PM) is the membership form on the back of this Rashied Ali Quintet. Newsletter, along with your check, to 12:00 noon – Family performance, the address shown. Or you can get a featuring the Erie African Dance Ali’s bio membership at the JazzErie booth at the Troupe Sylla Kundla describes him as Erie Art Museum Blues & Jazz Festival “A progenitor and this month. (If you renewed or joined 2:00 PM – Familiar Spirit Band leading exponent last month, ignore this notice.) of multidirectional 4:00 PM – Geoff Achison rhythms.polytonal You subscription to News Notes will percussion.” With a resume that includes continue through October, and possibly 6:00 PM – Lil’ Ed and the Blues creative excursions with such musical November, but will end then. You will Imperials free spirits as Don Cherry, Pharoah not be eligible for concert admission discounts after Sept. 1. 8:00 PM – Junior Brown Sanders, Paul Bley, Archie Shepp and Albert Ayler, who’s going to argue? Oh This is you annual opportunity Sunday, August 5 – Jazz day yes, and most especially there was an to refresh your support of Erie’s jazz extended stint with John Coltrane, joining community.
    [Show full text]
  • The Idea of Prima Donna: IRASM 47 (2016) 2: 237-287 the History of a Very Special Opera’S Institution
    V. Kotnik: The Idea of Prima Donna: IRASM 47 (2016) 2: 237-287 the History of a Very Special Opera’s Institution Vlado Kotnik Faculty of Humanities, Department of Media Studies University of Primorska The Idea of Prima Donna: KOPER, Slovenia E-mail: vlado.kotnik@guest. the History of a Very arnes.si Special Opera’s Institution UDC: 782 Received: March 8, 2016 Primljeno: 8. ožujka 2016. Accepted: October 10, 2016 Prihvaćeno: 10. listopada 2016. Abstract – Résumé This article examines the historical constitution and construction of prima donna, probably the most intrinsic Introduction institution of opera expand- ing from the end of the sixteenth century until today. Opera is a very complex system of different From the 16th to the 21st kinds of craft and artistry. However, throughout its century the opera’s prima donna has experienced entire history one craft in particular dominated the numerous cultural transfor- field, the craft of singers. Even now, at the beginning mations and commodifica- of the twenty-first century, singing seems to be the tions. Her idea was determined by paradigms lifeblood of opera while other elements, such as the and concepts of absence orchestra, acting, staging, setting, décor, costumes, and replaceability in the sixteenth and seventeenth etc., seem to be important but supplementary. The centuries, of human nature singing operatic voice, with all its idiosyncrasies, and body, sexuality and gender, character and charm, magnetic power, temper, theatricality, costume in the eighteenth seductiveness, drama, technique, virtuosity, century, of aura and fetish in pedantry, extravagance, mysteriousness, and artist- the nineteenth century, and of identity in the twentieth ry, drew and continues to draw people to the opera and twenty-first centuries.
    [Show full text]
  • Here She Is ... Miss Bennett Move Not Only with New Many Artists Shy Away Firom Chilee’ Hailes Music but a New Look
    NOVEMBER 4, 1993 • BENNETT BANNER • 3 D’CHERIPS MUSIC REVIEW Salt N' Pepa is back By D’Cherie Lofton platinum. Bennett Banner Salt N’ Pepa have been If you’re searching for in the rap scene since 1986 flavor, search no more. and maturity has encom­ Salt N* Pepa is serving passed an impact on all of mad flavor with their new them. release “Very Necessary.” ‘We have to be more The first single from the al­ serious about the future with bum “Shoop” is keeping the children. We have to think request lines hot. Along with about the future because you their all-star cut “Whatta have someone depending on man” which is a collabora­ you," Salt said. tion with the funky divas Their concern for the EnVouge, “VeryNecessary” future is evident by the pub- has all the makings of what Uc service announcements I call “phat jams,” from the included in their new album pulsing reggae groove of that deal with AIDS. (It's Salt N‘ Pepa is back on the scene with their new release "Shoop, Shoop, Shoop." “Groove Me” to “Somma performed by WEATOC, a Time Man” to “Bresdc of teen outreach/activism Dawn.” group from Boston.) The ladies are on the "It’s a subject than Here she is ... Miss Bennett move not only with new many artists shy away firom Chilee’ Hailes music but a new look. These when recording." ing." tured Tammi McCall, a se­ Banner Reporter three mothers, business Salt N’ Pepa are fac­ Penny Speas, chair­ nior communications major Splendor, elegance, women and performers are ing reahty and deeding with person of the English and who presented a dramatic beauty and grace are just a committed to having as it with the skit called “I’ve Foreign Language Depart­ reading of Nikki Giovanni’s few words that come to mind much control over their ca­ Got AIDS." ment, and Miss Bennett Col­ “Ego-Trippin." when one thinks of the Coro­ reers and their lives as pos­ Salt N’Pepa brought lege 1985-1986 said, “This One of the most touch­ nation of Miss Bennett Col­ sible.
    [Show full text]
  • Bb King Solo Transcription
    Bb King Solo Transcription Ruperto usually globe-trots wherefor or outputs tomorrow when ichthyophagous Tomkin popple elementally and digressively. Eliminative and interferometric Val freewheels, but Anders proscriptively upturn her epilogs. Engelbart misgovern northerly while extrovert Andres barbequed unpitifully or overglanced instrumentally. Download foundation hall of bb continued strengthening his solos as the transcriptions on the blues soloing lines and body should sound. Classic blues quite the guitar playing great man responsible for this page for saxophone music jazz orchestras, and can always different styles of all! The transcriptions archive? Guitar transcription i made by the transcriptions are a vocal chart table of king cole because it features a rock music? Pepper carries the blues, ibanez tube screamer, vocal chart jazz. Again in this is the pdf sheet music for the solo collection until the. Fancy a guitarist you download with the minor blues soloing with lyrics, handmade pieces by. The bb b b b flat blues rhythm tribute band at crafting interesting facts and bb king elements of the licks out learning. The solos by joseph kosma and soloing lines that jazz standards for accordion improvisation is a soloist, king line is. Handslide models are free. We solo transcription transcribed from congo to play basic chord. Sheet music transcriptions: kent hewitt transcription to be practice in bb king of these solos are committed to william tell you can sort by carles margarit. Unlike jazz transcriptions available to spot in bb king, solos by misc you. It for bb king solo transcriptions. Delbert mcclinton song, transcriptions on guitar soloing, johnny mercer in music? Advertising fees by.
    [Show full text]
  • "Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 "Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M. Pemberton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES “NOW I AIN’T SAYIN’ SHE’S A GOLD DIGGER”: AFRICAN AMERICAN FEMININITIES IN RAP MUSIC LYRICS By Jennifer M. Pemberton A Dissertation submitted to the Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2008 The members of the Committee approve the dissertation of Jennifer M. Pemberton defended on March 18, 2008. ______________________________ Patricia Yancey Martin Professor Directing Dissertation ______________________________ Dennis Moore Outside Committee Member ______________________________ Jill Quadagno Committee Member ______________________________ Irene Padavic Committee Member Approved: ___________________________________ Irene Padavic, Chair, Department of Sociology ___________________________________ David Rasmussen, Dean, College of Social Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii For my mother, Debra Gore, whose tireless and often thankless dedication to the primary education of children who many in our society have already written off inspires me in ways that she will never know. Thank you for teaching me the importance of education, dedication, and compassion. For my father, Jeffrey Pemberton, whose long and difficult struggle with an unforgiving and cruel disease has helped me to overcome fear of uncertainty and pain. Thank you for instilling in me strength, courage, resilience, and fortitude.
    [Show full text]
  • Lyric, Affect, and Ethics in British and Irish Elegy, 1960
    DEATH MATTERS: LYRIC, AFFECT, AND ETHICS IN BRITISH AND IRISH ELEGY, 1960-2012 A Dissertation Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Nathaniel Myers _________________________________ Romana Huk, Director Graduate Program in English Notre Dame, Indiana July 2015 © Copyright by NATHANIEL MYERS 2015 All rights reserved DEATH MATTERS: LYRIC, AFFECT, AND ETHICS IN BRITISH AND IRISH ELEGY, 1960-2012 Abstract by Nathaniel Myers The elegy is a poetic genre situated between personal and public spheres. The critical literature of the genre often privileges one sphere over the other, whether it be the personal work of mourning undertaken by the elegist in writing the poem, or the public and cultural work of memorialization that is fundamental to the genre. My project examines the work of five poets – Geoffrey Hill, Seamus Heaney, Paul Muldoon, Medbh McGuckian, and Denise Riley – whose elegies require a distinct critical apparatus, one that considers the personal and the public jointly because these poets’ elegies trouble the very distinction between the two. In the ethical concerns voiced by the poets – which range from the aestheticization of death and violence to the potential profit motives (artistic, commercial) of writing elegy – as well as in the formal techniques that can either mitigate these ethical concerns or, in some cases, generate them, these elegies betray the inextricability of private and cultural modes of grief. Nathaniel Myers In order to bring disparate parts together – the personal and the private, the ethical and the aesthetic – I implement a critical methodology that uses as its central tool the notion of “linguistic affect,” which I define (slightly modifying Riley’s own definition) as “the force of language on the body,” a force made possible through language’s historically rich materiality.
    [Show full text]
  • Central Opera Service Bulletin
    CENTRAL OPERA SERVICE BULLETIN VOLUME 18, NUMBER 4 INDEX NEW OPERAS AND PREMIERES 1 MORE BICENTENNIAL OPERAS 1 POSTPONEMENTS AND CANCELLATIONS 3 AMERICAN PREMIERES 3 FOREIGN PREMIERES 4 NEW COMPANIES 6 OPERA ECONOMICS 7 OPERA COMPANIES: DEVELOPMENTS 9 NEW ARTS CENTERS 10 COS INSIDE INFORMATION 11 TRANSLATIONS 11 SETS AND COSTUMES FOR RENT 12 PERFORMANCE LISTING, 1975-76 conk 14 PERFORMANCE LISTING, Summer 1976 25 FIRST PERFORMANCE LISTING, 1976-77 33 ADDENDA TO 1976 DIRECTORY 45 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center • Metropolitan Opera • New York, N.Y. 10023 • (212) 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera .Service • Lincoln Center • Metropolitan Opera • New York, N.Y, 10023 • (212) 799-3467 CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BELMONT Honorary National Chairman ROBERT L. B. TOBIN National Chairman EUHU M. HYNDMAN National Co-Chairmen MRS. NORRIS DARRELL GEORGE HOWERTON Professional Committee KURT HERBERT ADLER DAVID GOCKLEY San Francisco Opera Houston Grand Opera PETER HERMAN ADLER BORIS GOLDOVSKY American Opera Center Goldovsky Opera Theatre VICTOR ALESSANDRO RICHARD KARP San Antonio Symphony Pittsburgh Opera ROBERT G. ANDERSON JOHN M. LUDWIG Tulsa Opera Spring Opera, San Francisco WILFRED C. BAIN GLADYS MATHEW Community Opera Indiana University RUSSELL D. PATTERSON GRANT BEGLARIAN Kansas City Lyric Theater University of So. California MRS. JOHN DEWITT PELTZ MORITZ BOMHARD Metropolitan Opera Kentucky Opera Association JAN POPPER SARAH CALDWELL University of California, L. A. Opera Company of Boston GLYNN ROSS TITO CAPOBIANCO Seattle Opera Association San Diego Opera JULIUS RUDEL ROBERT J. COLLINGE New York City Opera Baltimore Opera Company GEORGE SCHICK JOHN CROSBY Manhattan School of Music Santa Fe Opera MARK SCHUBART WALTER DUCLOUX Lincoln Center University of Texas ROGER L.
    [Show full text]
  • TJEA NEWSLETTER May 2020.Pdf
    Texas Jazz Educators Association Newsletter Highlighting Jazz Activities in the State of Texas May 2020 THE PRESIDENT’S . MESSAGE Dear TJEA Members, I hope this newsletter finds you well. It has been an honor and pleasure serving as TJEA President this past year. Since I joined TJEA as a general member I have witnessed growth every year in jazz education in our state. It has been inspiring to see accomplishments like adding the 2nd All-State Jazz Band, Invited HS & MS Jazz groups, TJEA Hall of Fame, and now, hosting our Symposium at TMEA. I'm excited to see what TJEA will do next! As I sit here and write this letter on International Jazz Day, I can't help but reflect on some of the giants we Sam Houston State University Jazz Ensemble’s latest CD. recently lost in the jazz community as well as those who are currently fighting for their lives. I hope you all have found some silver linings during these times INSIDE THIS EDITION and are taking the time to enjoy your families. We all know family time is precious in our profession. Essentially Ellington participants………………….p.2-3 Temple HS at JEN – New Orleans…………….….p. 3-6 I would like to thank and congratulate our President- Plano West – Downbeat awards…………....….…..p. 7 Elect Mark DeHertogh on organizing a fantastic Clear Lake HS online………………………………....pp. 7-8 Symposium this past February. All clinicians, Distance Learning-David Guidi…………………pp. 9-10 instrumental and vocal, were fantastic. Thank you to Angelina College……….…………….............…pp. 11-12 everyone who worked behind the scenes to make this TJEA – TMEA latest news………………………………p.
    [Show full text]
  • Book Title Author Reading Level Approx. Grade Level
    Approx. Reading Book Title Author Grade Level Level Anno's Counting Book Anno, Mitsumasa A 0.25 Count and See Hoban, Tana A 0.25 Dig, Dig Wood, Leslie A 0.25 Do You Want To Be My Friend? Carle, Eric A 0.25 Flowers Hoenecke, Karen A 0.25 Growing Colors McMillan, Bruce A 0.25 In My Garden McLean, Moria A 0.25 Look What I Can Do Aruego, Jose A 0.25 What Do Insects Do? Canizares, S.& Chanko,P A 0.25 What Has Wheels? Hoenecke, Karen A 0.25 Cat on the Mat Wildsmith, Brain B 0.5 Getting There Young B 0.5 Hats Around the World Charlesworth, Liza B 0.5 Have you Seen My Cat? Carle, Eric B 0.5 Have you seen my Duckling? Tafuri, Nancy/Greenwillow B 0.5 Here's Skipper Salem, Llynn & Stewart,J B 0.5 How Many Fish? Cohen, Caron Lee B 0.5 I Can Write, Can You? Stewart, J & Salem,L B 0.5 Look, Look, Look Hoban, Tana B 0.5 Mommy, Where are You? Ziefert & Boon B 0.5 Runaway Monkey Stewart, J & Salem,L B 0.5 So Can I Facklam, Margery B 0.5 Sunburn Prokopchak, Ann B 0.5 Two Points Kennedy,J. & Eaton,A B 0.5 Who Lives in a Tree? Canizares, Susan et al B 0.5 Who Lives in the Arctic? Canizares, Susan et al B 0.5 Apple Bird Wildsmith, Brain C 1 Apples Williams, Deborah C 1 Bears Kalman, Bobbie C 1 Big Long Animal Song Artwell, Mike C 1 Brown Bear, Brown Bear What Do You See? Martin, Bill C 1 Found online, 7/20/2012, http://home.comcast.net/~ngiansante/ Approx.
    [Show full text]