DOCSLIB.ORG

AMS Newsletter February 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
AMS Newsletter February 2017 AMS NEWSLETTER THE AMERICAN MUSICOLOGICAL SOCIETY CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES VOLUME XLVII, NUMBER 1 February 2017 ISSN 0402-012X Rochester: The Flower City Beckons Vancouver 2016 Wrap-Up AMS Rochester 2017 cause Rochester once hosted a number The eighty-second Annual Meeting of the 9–12 November of companies that sold seeds in the mid- American Musicological Society took place www.ams-net.org/rochester nineteenth century, it is known as the in the beautiful mountain-and-ocean-ringed Flower City. Even earlier, Rochester boast- It is likely that when you hear the word landscape of Vancouver. Many participants ed a number of flour mills, arninge it the took time to enjoy the natural beauty of the “Rochester,” you think of snow. You are short-lived, homonymic nickname “Flour environs, taking the short stroll to the bay or not wrong in calling this to mind, but it City.” It is still home to one of the oldest, the slightly longer trip to Stanley Park. The is my job to not let New York State’s third- continuously-operating farmer’s markets program reflected the ever-widening fields largest city be defined by its unruly level in the country (open year round). The city of inquiry embraced by musicology, and the of frozen precipitation. Instead, I warmly also has a history of being at the forefront joint meeting with the Society for Music The- welcome you to attend the eighty-third of social justice. Frederick Douglass spent ory meant a packed schedule with sometimes Annual Meeting of the American Musico- almost half of his life in Rochester speaking agonizing choices to be made between paral- logical Society in Rochester, New York, to out against slavery. Susan B. Anthony like- lel sessions. Opera and film studies continued be held in the Joseph A. Floreano Roch- their strong showings of recent years, while wise advocated for women’s suffrage in the ester Riverside Convention Center, on the the omnipresence of technology in our lives Flower City. Both Douglass and Anthony east bank of the Genessee River. yielded a plethora of papers discussing radio, are buried in Rochester’s historic Mount Originally inhabited by the Seneca tribe video games and digital technology, and ex- Hope Cemetery. Each Election Day in No- of Native Americans, the area was settled tending our awareness of technology’s influ- vember, Rochesterians gather at Anthony’s by immigrants about 1800. When the ence on culture from the “mendacious tech- grave and put their “I Voted!” stickers on Erie Canal was completed in 1823, Roch- nology” behind the violin’s claim to historic- her headstone. The burial site made na- ester became an important port for ship- ity to the use of music as surveillance. Sound- tional news on 8 November 2016, remain- ping from the Great Lakes to the Atlantic scape, environmentalism, and ecomusicology ing open well after the usual closing time (the advent of railroads led to the demise were the focus of two dedicated sessions, but to allow citizens to visit Anthony’s place threaded through myriad others, from the of the canal only a few decades later). Be- of rest in honor of presidential candidate sounds of Parisian streets in the nineteenth Hillary Clinton. century to the soundscape artist Hildegard In This Issue… The Eastman School of Music, princi- Westerkamp to the noise of political advertis- ing in twenty-first-century America. Archival President’s Message ...............2 pally located on one square block a ten- research in Bombay, Lima, Lisbon, Mexico AMS Public Lectures..............4 minute walk from the convention center, City, Paris, Rio, Shanghai, Singapore, and Women and Gender Lecture .......5 will grace the conference with outstanding many other places underpinned many of the Treasurer’s Message ...............5 performance halls and the enviable musi- presentations, and genres ranging from the National Humanities Alliance ......5 cal talent of its student body. It will serve thirteenth-century mini-clausula of the Mag- Awards, Prizes, Honors ............6 as the artistic epicenter of the meeting nus Liber to the monumental symphonies of AMS Demographic Report ........ 11 and several exciting musical events are in Bruckner were discussed. Vancouver Post-Conference Survey . 12 the works. Among its strengths, Eastman In addition to daytime paper sessions, the Executive Director’s Message ......13 is particularly well known in the area of Elections 2017 .................14 conference hosted a variety of other research organ. Not only does the School employ formats. Poster sessions, in their third year on Historical Notation Bootcamp .....16 some of the most renowned organists, but 16 the AMS program, offered, inter alia, a digital News Briefs ................... a coordinated effort between the School Grants, Awards, Fellowships .......17 map of nineteenth-century Parisian theaters and the community called the Eastman Committee News ...............18 and a video landscape of twentieth-century Rochester Organ Initiative has produced Study Group News ..............21 American marching bands. A much-discussed Papers Read at Chapter Meetings ...23 an unparalleled selection of historic and alternative-format session was the panel “Sex- CFPs and Conferences ...........28 modern instruments around the city, ual Violence on the Stage: How Musicolo- Financial Statement .............29 which is considered the organ capital of the gists Promote Resistance in the Twenty-First Obituaries ....................30 continued on page continued on page President’s Message Greetings from a cold Chicago winter land. both before and during the main conference, composition and improvisation. Though the I hope this message finds you all well and something new was clearly in the air, some- main exempla were drawn from eighteenth- warm. As I contemplate the reality of deep thing suggesting new configurations of musi- century Naples and Venice, a remarkable divisions in our world, I find myself wanting cal and sonic knowledge and new kinds of case dealt with a young child from present- to take a moment to reflect on what AMS is exchanges. Race matters were also the direct day England. I was struck by resonances be- and what it can accomplish. Members of our focus of a Special Session on Race, Ethnicity, tween Gjerdingen’s talk and the Society’s re- Society work in a broader range of subjects and the Profession, hosted by the Planning newed emphasis on teaching, as evinced in its using more disparate methods than ever be- Committee of the same name and featuring Teaching award, Pedagogy Study Group, and fore. This multiplicity continually challenges presentations by Ellie Hisama, Mark Bur- the latter’s Journal of Music History Pedagogy our most basic notions of what music is and ford, and Bonnie Gordon (now collected on and inscribed in our recently revised mission does. Our work provokes and divides us as our blog Musicology Now, musicologynow. statement, which puts teaching on an equal easily as it comforts and binds. Yet we share ams-net.org). The post-presentation discus- footing with research and learning with the something powerful: the commitment to sion elicited broad and thoughtful participa- words “the object of the Society shall be the inquiring into subjects that involve research- tion from the floor that raised difficult, some- advancement of scholarship in the various ing, teaching, and learning about music and times painful issues with no easy answers. It fields of music through research, learning, sound. If there is a distressing dearth of har- was the kind of conversation we need to be and teaching.” mony in our world these days, perhaps the having. So what might such work tell us about what microsociety that is AMS and our dedication Conspicuous among other fields on display to its fundamental goals can yield something were radio studies (the subject of three full we in our pluralistic mini-society might ac- special in the way of common cause. sessions), sound studies, disability studies, complish? Perhaps it tells us that moving into The most recent witness to the commit- ludomusicology, critical organology, stud- the future we can feel optimistic about be- tedness and sometimes fraught diversity of ies of colonial musics, critical histories of coming effective teachers and interlocutors. AMS was its 2016 Annual Meeting in Van- world music, and feminist studies (notably Having long been committed to teaching couver last November. Vancouver showed us a session called “Sexual Violence on Stage”). future generations, we know well that speech both its storied beauty and its storied capac- Many other sessions and papers affirmed that is rarely maximally effective, nor is it ever ity for near-perpetual rain. Attendees spent the Society also continues to do marvelous completely “free.” It demands work and vigi- many an hour indoors snaking their way to lance. That means not just advancing good meetings and sessions through the Shera- arguments with sound evidence, intelligence, ton’s long, curvaceous corridors. There were Open exchange is dynamic, contin- conviction, or even courage; it means being giggles from those who attended early morn- gent, and open-ended willing to listen and try to understand oth- ing meetings in a room named “Cracked ers. And it means knowing that dissonance Ice,” which, alongside others with names like doesn’t always resolve. Open exchange—as “Beluga” and “Gulf Islands,” made for inter- new things with older subjects. A fascinat- the Special Session on race made clear—is esting speculation about what might go on ing session organized by the Program Com- dynamic, contingent, and open-ended. And there. On our way to and fro, we got to enjoy mittee was called “After Machaut and before practicing it, as I think we’re learning to do, book exhibits sprinkled throughout hallways, Monteverdi: Current Trends in Music of is exhilarating but difficult. We should feel perched behind escalators, and tucked into the Renaissance.” Other sessions dealt with good about the steps we’re taking toward be- foyers—a refreshing change from the usual such varied themes as musical literacy in the coming better interlocutors, not least in the bunkering of exhibition rooms.
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs, Summer
    m^^^^j^^fjSjmggU ^^If0jisdii^ Accompanist to Boston Symphony Orchestra Berkshire Festival • Berkshire Music Center and to these Tanglewood 1971 artists Leonard Bernstein • Arthur Fiedler • Byron Janis • Ruth Laredo Seiji Ozawa • Gunther SchuIIer • Michael Tilson Thomas • Earl Wild BOSTON SYMPHONY ORCHESTRA WILLIAM STEINBERG Music Director MICHAEL TILSON THOMAS Associate Conductor NINETIETH ANNIVERSARY SEASON 1970-1971 TANGLEWOOD 1971 SEIJI OZAWA, GUNTHER SCHULLER Artistic Directors LEONARD BERNSTEIN Advisor THIRTY-FOURTH BERKSHIRE FESTIVAL THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President ABRAM T. COLLIER HENRY A. LAUGHLIN PHILIP K. ALLEN Vice-President MRS HARRIS FAHNESTOCK EDWARD G. MURRAY ROBERT H. GARDINER Vice-President THEODORE P. FERRIS JOHN T. NOONAN JOHN L. THORNDIKE Treasurer FRANCIS W. HATCH MRS JAMES H. PERKINS ALLEN G. BARRY HAROLD D. HODGKINSON IRVING W. RABB RICHARD P. CHAPMAN E. MORTON JENNINGS JR SIDNEY STONEMAN EDWARD M. KENNEDY TRUSTEES EMERITUS HENRY B. CABOT PALFREY PERKINS EDWARD A. TAFT THE BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA INC. ERWIN D. CANHAM Chairman HENRY B. DEWEY LAWRENCE K. MILLER VERNON ALDEN Vice-Chairman RICHARD A. EHRLICH FRANK E. MORRIS LEONARD KAPLAN Secretary/ BYRON K. ELLIOTT MRS STEPHEN V. C. MORRIS HAZEN H. AYER ARCHIE C. EPPS III JOHN T. G. NICHOLS MRS FRANK G. ALLEN PAUL FROMM LOUVILLE NILES ROBERT C. ALSOP CARLTON P. FULLER DAVID R. POKROSS LEO L. BERANEK MRS ALBERT GOODHUE MRS BROOKS POTTER DAVID W. BERNSTEIN MRS JOHN L. GRANDIN HERBERT W. PRATT MRS CURTIS B. BROOKS STEPHEN W. GRANT MRS FAIRFIELD E. RAYMOND J. CARTER BROWN SAMUEL A. GROVES PAUL C. REARDON MRS LOUIS W.
    [Show full text]
  • Rosemary Lane the Pentangle Magazine
    Rosemary Lane the pentangle magazine Issue No 12 Summer 1997 Rosemary Lane Editorial... (thanks, but which season? and we'd Seasonal Greetings! rather have had the mag earlier!) o as the summer turns into autumn here we extensive are these re-issues of the Transatlantic are once more with the latest on Pentangle years - with over 30 tracks on each double CD in Rosemary Lane. In what now seems to be that the juxtaposition of the various musical its characteristic mode of production - i.e. long styles is frequently quite startling and often overdue and much anticipated - thanks for the refreshing in reminding you just how broad the reminders! - we nevertheless have some tasty Pentangle repertoire was in both its collective morsels of Pentangular news and music despite and individual manifestations. More on these the fact that all three current recording projects by in news and reviews. Bert and John and Jacqui remain works in progress - (see, Rosemary Lane is not the only venture that runs foul of the limitations of one human being!). there’s a piece this time round from a young Nonetheless Bert has in fact recorded around 15 admirer of Bert’s who tells how he sounds to the or 16 tracks from which to choose material and in ears of a teenage fan of the likes of Morrissey and the interview on page 11 - Been On The Road So Pulp. And while many may be busy re-cycling Long! - he gives a few clues as to what the tracks Pentangle recordings, Peter Noad writes on how are and some intriguing comments on the feel of Jacqui and band have been throwing themselves the album.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1961-1962
    Music Shed — Tanglewood Lenox, Massachusetts Thursday, August 2, 1962, at 8:00 For the Benefit of the Berkshire Music Center THE BOSTON POPS ARTHUR FIEDLER, Conductor Soloist EARL WILD, Piano PROGRAM *The Stars and Stripes Forever Sousa *Suite from "Le Cid" Massenet Castiliane — Aragonaise — Aubade — Navarraise #Mein Lebenslauf ist Lieb' und Lust, Waltzes Josef Strauss Pines of Rome Respighi I. The Pines of the Villa Borghese II. The Pines near a Catacomb III. The Pines of the Janiculum IV. The Pines of the Appian Way Intermission *Concerto in F for Piano and Orchestra Gershwin I. Allegro II. Adagio; Andante con moto III. Allegro agitato Soloist: Earl Wild *Selection from "West Side Story" Bernstein I Feel Pretty — Maria — Something's Coming — Tonight — One Hand, One Heart — Cool — A-mer-i-ca Mr. Wild plays the Baldwin Piano Baldwin Piano *RCA Victor Recording Special Event at Tanglewood Thursday, August 23 A GALA EVENING of Performances by the Students For the Benefit of the Berkshire Music Center ORDER OF EVENTS 4 :00 Chamber Music in the Theatre 5 :00 Music by Tanglewood Composers in the Chamber Music Hall 6:00 Picnic Hour 7 :00 Tanglewood Choir on the Main House Porch 8 :00 The Berkshire Music Center Orchestra Concert in the Shed In Mahler's Third Symphony, with the Festival Chorus and Florence Kopleff, Contralto Conductor—Richard Burgin Admission tickets . (All seats unreserved except boxes) $2.50 — Box Seats $5.00 Grounds open for admission at 3 :00 p.m. REMAINING FESTIVAL CONCERTS (The final concerts of Charles Munch as Music Director of the Boston Symphony Orchestra) EVENINGS — 8 :00 P.M.
    [Show full text]
  • MUH 5684 Tuesday, Period 3 | Thursday, Periods 3–4 • MUB 232 • Spring 2020 Dr
    detail from F-Pn vma ms 1068 | hand of violinist Pierre Baillot | photo by Michael Vincent Introduction to Historical Musicology MUH 5684 Tuesday, Period 3 | Thursday, Periods 3–4 • MUB 232 • Spring 2020 Dr. Michael Vincent • [email protected] • MUB 351 • Thursday & Friday period 5 Please visit me during my office hours. I’m available to discuss our course or issues of professional development. Overview We explore critical approaches to the history of musicology as an academic discipline. The readings provide an overview of fundamental concepts and methodologies, and significant musicological writings representing style periods and conceptual issues. While musicologists traditionally focus on European music in the classical tradition, we will sample scholarship that focuses on a broad range of repertoires. Students will be encouraged to approach the discipline and its history critically. This critical approach will inform your personal work, giving you the tools to investigate your own topic in novel and insightful ways. Each student will choose a “lab rat” at the beginning of the semester: an artistic period, repertoire, performer, social movement, or composer. You will investigate your lab rat using the weekly methodology, diversifying your knowledge of your chosen subject. Your lab rat may grow in unexpected ways as the semester progresses. This course has prerequisites: successful completion of the complete undergraduate music history sequence; graduate student status; and successful completion of the music history entrance exam or the review course. Expectations ❖ Reading You’re expected to come to class having completed all reading on the syllabus for that week. You must be ready to engage with the materials.
    [Show full text]
  • A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018)
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Music, School of Performance - School of Music 4-2018 State of the Art: A Sampling of Twenty-First- Century American Baroque Flute Pedagogy Tamara Tanner University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Pedagogy Commons, and the Music Performance Commons Tanner, Tamara, "State of the Art: A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018). Student Research, Creative Activity, and Performance - School of Music. 115. https://digitalcommons.unl.edu/musicstudent/115 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY by Tamara J. Tanner A Doctoral Document Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Flute Performance Under the Supervision of Professor John R. Bailey Lincoln, Nebraska April, 2018 STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY Tamara J. Tanner, D.M.A. University of Nebraska, 2018 Advisor: John R. Bailey During the Baroque flute revival in 1970s Europe, American modern flute instructors who were interested in studying Baroque flute traveled to Europe to work with professional instructors.
    [Show full text]
  • In My Tradition: Ballads and Folk Lyrics
    In My Tradition: Ballads and Folk Lyrics Rosaleen Gregory Four more songs, all sung a cappella. Two of these shire) traditional singer Anne Briggs on her 1963 I’ve known for many years: the other two I learned Topic EP, The Hazards of Love. The three other more recently to illustrate conference papers given by songs on that long-ago disc – “Lowlands Away”, Dave, and liked enough to go on singing them. This “Polly Vaughan” and “Rosemary Lane” – have al- time I seem to have unconsciously focused on flow- ready been featured in this column in the Fall 2009 ers (garden and other) and musical instruments. It and Fall 2011 issues of Canadian Folk Music. must have something to do (at least the flowers part) with spring finally coming to northern Alberta (al- Flowers in the Valley though this is actually the Winter 2011-12 issue of Canadian Folk Music!). This engaging (but not exactly feminist) song has something of a history. It was collected in 1891 by The Bloody Gardener Devon collector and clergyman Sabine Baring-Gould from Sam and Mary Gilbert of Mawgan-in-Pyder, This unusual and chilling tale with its distinctive tune Cornwall. Neither informant could remember all the was collected by Maud Karpeles on her first collect- words, so Baring-Gould, in the manner of the day, ing trip in Newfoundland. It was sung to her by Mrs. created a composite lyric based on the possible Eng- May McCabe at North River, Conception Bay, on lish and Scottish antecedents of the fragments Sam 16th October 1929.
    [Show full text]
  • In My Tradition: Ballads and Folk Lyrics
    In My Tradition: Ballads and Folk Lyrics Rosaleen Gregory Here, for the time being at least, is a new column. Its was current around English folk clubs in the 1960s. I main purpose is to introduce some more ballads learned text and tune from Anne Briggs, who herself which for one reason or another never got included in likely learned it from A. L. (Bert) Lloyd; he was Francis Child’s canon of 305 ballad clusters. As you something of a mentor to Anne. For a long time I will see, there are many fine songs in that category, sang only this version; later I found the Irish version and here are four (one with two different versions.) also reproduced here, in Stephen Sedley’s 1967 edi- When I was at Keele University in North Staf- tion of The Seeds of Love (Essex Music Limited, in fordshire, England, in the early 1960s, I ran the Folk association with the English Folk Dance and Song Club there for a while. One of the finest singers we Society). ever brought in to sing was Anne Briggs, who came, I like them both; Anne’s version seems to me I think, once with Bert Jansch and once without. (She more mysterious; Sedley’s version has a lilting, also performed at a Folk Festival which was held at courtly quality, without losing sight of the inherently the Keele campus during those years). I took down dangerous nature of this encounter with the superna- several songs from Anne’s singing, three of which tural. The text here is collated from two (English) are featured here.
    [Show full text]
  • AMS Newsletter February 2014
    AMS NEWSLETTER THE AMERICAN MUSICOLOGICAL SOCIETY CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES VOLUME XLIV, NUMBER 1 February 2014 ISSN 0402-012X AMS Milwaukee 2014: Not Just 2013 Annual Beer, Brats, and Cheese Meeting: Pittsburgh AMS Milwaukee 2014 venues right in the downtown area, includ- The seventy-ninth Annual Meeting of the 6–9 November ing the Marcus Center for the Performing American Musicological Society took place www.ams-net.org/milwaukee Arts, home of the Milwaukee Symphony, the 7–10 November among the bridges, rivers, Florentine Opera, and the Milwaukee Bal- and hills of Pittsburgh’s Golden Triangle. Members of the AMS and the SMT will let. Pabst Theatre and the nearby Riverside The program was packed to the gills, with converge on Milwaukee, Wisconsin, in No- Theatre are home to regular series and the an average of seven concurrent scholarly ses- vember for their annual meetings. Situated Milwaukee Repertory Company. The large sions plus numerous meetings by the Soci- on the west shore of Lake Michigan about Milwaukee Theatre hosts roadshows. The ety’s committees, study groups, and editorial ninety miles north of Chicago, Milwaukee is downtown also boasts two arenas hosting boards, as well as lectures and recitals select- known as the Cream City not because Wis- sporting events and touring acts. The Broad- ed by the Performance Committee. Papers consin is America’s Dairyland, but because way Theatre presents smaller events, includ- and sessions spanned the entire range of the of the ubiquity of cream-colored brick used ing local theater companies and the Skylight field, from the origins of Christian chant to in the city’s oldest buildings.
    [Show full text]
  • 1950S Playlist
    1/10/2005 MONTH YEAR TITLE ARTIST Jan 1950 RAG MOP AMES BROTHERS Jan 1950 WITH MY EYES WIDE OPEN I'M DREAMING PATTI PAGE Jan 1950 ENJOY YOURSELF (IT'S LATER THAN YOU THINK) GUY LOMBARDO Jan 1950 I ALMOST LOST MY MIND IVORY JOE HUNTER Jan 1950 THE WEDDING SAMBA EDMUNDO ROS Jan 1950 I SAID MY PAJAMAS (AND PUT ON MY PRAY'RS) TONY MARTIN/FRAN WARREN Jan 1950 SENTIMENTAL ME AMES BROTHERS Jan 1950 QUICKSILVER BING CROSBY/ANDREWS SISTERS Jan 1950 CHATTANOOGIE SHOE SHINE BOY RED FOLEY Jan 1950 BIBBIDI-BOBBIDI-BOO PERRY COMO Feb 1950 IT ISN'T FAIR SAMMY KAYE/DON CORNELL Feb 1950 RAG MOP LIONEL HAMPTON Feb 1950 THE THIRD MAN THEME ANTON KARAS Feb 1950 MY FOOLISH HEART GORDON JENKINS Feb 1950 THE CRY OF THE WILD GOOSE FRANKIE LAINE Feb 1950 THE FAT MAN FATS DOMINO Feb 1950 DADDY'S LITTLE GIRL MILLS BROTHERS Feb 1950 MUSIC MUSIC MUSIC TERESA BREWER Mar 1950 THE THIRD MAN THEME GUY LOMBARDO Mar 1950 CANDY AND CAKE MINDY CARSON Mar 1950 MY FOOLISH HEART BILLY ECKSTINE Mar 1950 IF I KNEW YOU WERE COMIN' I'D'VE BAKED A CAKE EILEEN BARTON Mar 1950 WANDERIN' SAMMY KAYE Mar 1950 DEARIE GUY LOMBARDO Apr 1950 COUNT EVERY STAR HUGO WINTERHALTER Apr 1950 HOOP-DEE-DOO PERRY COMO Apr 1950 BEWITCHED BILL SNYDER Apr 1950 PETER COTTONTAIL GENE AUTRY Apr 1950 ARE YOU LONESOME TONIGHT BLUE BARRON May 1950 THE OLD PIANO ROLL BLUES HOAGY CARMICHAEL/CASS DALEY May 1950 BEWITCHED DORIS DAY May 1950 VALENCIA TONY MARTIN May 1950 I DON'T CARE IF THE SUN DON'T SHINE PATTI PAGE May 1950 I WANNA BE LOVED ANDREWS SISTERS May 1950 BONAPARTE'S RETREAT KAY STARR Jun 1950 MONA
    [Show full text]
  • N Ew Y O R K F Lu T E F a Ir 2021
    The New York Flute Club Nancy Toff, President Deirdre McArdle, Flute Fair Program Chair The New York Flute Fair 2021 A VIRTUAL TOOLBOX with guest artist Julien Beaudiment Principal flutist, Lyon (France) Opera Orchestra Saturday and Sunday, April 10 and 11, 2021 via Zoom NEW YORK FLUTE FAIR 2021 BOARD OF DIRECTORS NANCY TOFF, President PATRICIA ZUBER, First Vice President KAORU HINATA, Second Vice President DEIRDRE MCARDLE, Recording Secretary KATHERINE SAENGER, Membership Secretary MAY YU WU, Treasurer AMY APPLETON JEFF MITCHELL JENNY CLINE NICOLE SCHROEDER RAIMATO DIANE COUZENS LINDA RAPPAPORT FRED MARCUSA JAYN ROSENFELD JUDITH MENDENHALL RIE SCHMIDT MALCOLM SPECTOR ADVISORY BOARD JEANNE BAXTRESSER ROBERT LANGEVIN STEFÁN RAGNAR HÖSKULDSSON MICHAEL PARLOFF SUE ANN KAHN RENÉE SIEBERT PAST PRESIDENTS Georges Barrère, 1920-1944 Eleanor Lawrence, 1979-1982 John Wummer, 1944-1947 John Solum, 1983-1986 Milton Wittgenstein, 1947-1952 Eleanor Lawrence, 1986-1989 Mildred Hunt Wummer, 1952-1955 Sue Ann Kahn, 1989-1992 Frederick Wilkins, 1955-1957 Nancy Toff, 1992-1995 Harry H. Moskovitz, 1957-1960 Rie Schmidt, 1995-1998 Paige Brook, 1960-1963 Patricia Spencer, 1998-2001 Mildred Hunt Wummer, 1963-1964 Jan Vinci, 2001-2002 Maurice S. Rosen, 1964-1967 Jayn Rosenfeld, 2002-2005 Harry H. Moskovitz, 1967-1970 David Wechsler, 2005-2008 Paige Brook, 1970-1973 Nancy Toff, 2008-2011 Eleanor Lawrence, 1973-1976 John McMurtery, 2011-2012 Harold Jones, 1976-1979 Wendy Stern, 2012-2015 Patricia Zuber, 2015-2018 FLUTE FAIR STAFF Program Chair: Deirdre McArdle
    [Show full text]
  • Boston Symphony Orchestra
    ABRAHAM cf ..."' c ="' HOODS UP TO THE AMERICAN WAY WITH WOOL Blanket plaid ... toggle terrific, either way you coat it this fall ... A&S says do it with pure wool fabric made in America! PURE WOOL® "The Wool mark is your assurance of a quality tested product made of pure wool" -----------------------------------OCTOBER, 1971 I BROOKLYN ACADEMY OF MUSIC I 3 Thursday Evening, October 28, 1971 , 8:30 p.m. Subscription Performance The Brooklyn Institute of Arts and Sciences presents the Boston Symphony Orchestra \X:'illiam Steinberg, Music Director Michael Tilson Thomas, Associate Conductor Michael Tilson Thomas, Conducting Polonaise and Krakoviak from 'A Life for the Tsar' MIKHAIL GLINKA Symphony in C IGOR STRAVINSKY Mode.rato alia breve Larghetto concertante Allegretto Largo - tempo giu sto, alia breve IN TERMISSION Concerto for flute, oboe, piano and percussion EDISON DENISOV Overture: allegro moderato Cadenza: Iento rubato - allegro Coda: allegro giusto DORIOT ANTHONY DWYER, flute RALPH GOMBERG, oboe GILBERT KALISH, piano EVERETT FIRTH, percussion Symphony No. 2 in B minor, Op. 5 ALEXANDER BORODIN Allegro Scherzo: prestissimo - allegretto Andante Finale: allegro The Boston Symphony Orchestra records exclusively for Deutsche Grammophon. BALDWIN PIANO DEUTSCHE GRAMMOPHON AND RCA RECORDS 4 I BROOKLYN ACADEMY OF MUSIC I OCTOBER, 1971 The Brooklyn Academy of Mus 1 c The t. Felix Street Corporation Administrative Staff Board of Directors : Harvey Lichtenstein, Director Seth S. Faison, Chairman Lewis L. Lloyd, General Manager Donald M. Blinken, President John V. Lindsay, Honorary Chairman Charles Hammock, Asst. General Manager M arti·n P. Carter Jane Yackel, Comptroller Barbaralce Diamonstein Thomas Kerrigan, Assistant to the Director Mrs.
    [Show full text]
  • A. L. Lloyd and Reynardine: Authenticity and Authorship in The
    Folklore 115 (December 2004): 286–308 RESEARCH ARTICLE A. L. Lloyd and Reynardine: Authenticity and Authorship in the Afterlife of a British Broadside Ballad Stephen D. Winick Abstract This paper presents new evidence concerning the broadside ballad “Reynardine,” which became popular in the British folksong revival movement of the 1960s and 1970s. It argues that the revival versions of this ballad were not products of the folk tradition, but rather descendants of a text authored by A. L. Lloyd, who was both a singer and a folksong scholar. The paper goes on to suggest reasons why Lloyd might have authored the ballad, and reasons why he might have concealed that authorship, placing its evidence and observations in the context of folkloristic concerns about authenticity and authorship, folklore and fakelore. Downloaded By: [Ingenta Content Distribution - Routledge] At: 23:48 1 May 2008 Introduction In Regina Bendix’s foundational study of the concept of authenticity in folklore studies, she points out a remarkable semantic reversal. “Authentic derives from the Greek ‘Authentes,’” she tells us, “which carries the dual meaning of ‘one who acts with authority’ and ‘made by one’s own hand’” (Bendix 1997, 14). Yet, “authentic” in folklore has usually meant the opposite: that which is made by no discernable hand, imbued with no individual’s authority, because it has been re-made by the forces of impersonal tradition (Bendix 1997, 15). While “authentic” and “author” share an etymological root, authorial practices are usually taken to produce inauthentic folklore; Richard Dorson famously coined the word “fakelore” for materials created by authors and passed off as products of folk tradition (Dorson 1969).
    [Show full text]