DOCSLIB.ORG

The Reception of the Music of Cécile Chaminade in Colonial New Zealand (1894 -1934): Contexts and Institutions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Reception of the Music of Cécile Chaminade in Colonial New Zealand (1894 -1934): Contexts and Institutions The Reception of the Music of Cécile Chaminade in Colonial New Zealand (1894 -1934): Contexts and Institutions Sandra Crawshaw A thesis submitted for the Degree of Master of Arts, University of Otago, Dunedin, New Zealand March 2015 Figure 1: Cécile Chaminade (1857-1944) – H.S. Mendelssohn, photographer, 1890. Bibliothèque nationale de France. ii Abstract This thesis is a study of the music of Cécile Chaminade (1857-1944) and how present it was within the music traditions of colonial New Zealand. Chaminade was a French composer who enjoyed considerable success in North America and Europe during her lifetime, and the original premise of this study was to establish whether she had a similar presence as a composer in New Zealand. Drawing mainly from newspapers and archived programmes, a list of over four hundred concerts featuring her piano music and her songs has been compiled. It has revealed that a great percentage of her piano music performed in New Zealand actually occurred in student concerts, an aspect of music teaching neglected in most studies of music history. This list also indicates how well placed Chaminade’s songs were, in the repertoire of the singers of the day, both international and local, professional and amateur. Divided into two distinct chapters, the first chapter traces, for the first time, the origins of concerts specifically staged for music pupils, as well as discussing the practices of prominent music teachers throughout New Zealand, and how the present the music of Chaminade was in the repertoire, particularly that of piano ensembles (many hands, many pianos). There is also a discussion of the British examination systems and the Performing Arts Competitions, their choices of repertoire, and their relevance to the development of New Zealand’s young musicians of the time. The second chapter looks at songs of Chaminade and where they were sung. Considered art songs rather than ballads, her songs were very popular with many celebrated international ballad singers of the time. The chapter begins with addressing the international singers along with the actual concerts, the programmes and repertoire performed, followed by a comparison of Chaminade’s songs to popular ballads of the day. The final section of the chapter introduces some of the New Zealand singers who, though well known throughout New Zealand in colonial times, have been little documented in any historical studies today, coming to light in this thesis essentially because songs of Chaminade were highly placed in their repertoire. iii Acknowledgements Several years ago I was asked to participate in a concert solely devoted to woman composers. I accepted then realized I had literally nothing in my repertoire suitable to play. Setting off to source music from women composers, such as Clara Schumann and Amy Beach, it was the music of Cécile Chaminade that was a surprising and delightful discovery, as I was no different from most of my colleagues in being unaware of the extent of her opus for piano. Since then, over the past few years I have been performing and speaking about women composers and their music, at which a colleague suggested that perhaps I should turn my research into a thesis. I therefore would like to thank Alison Bowcott for setting me off on this fascinating and unexpected journey of research, uncovering so much about music-making in colonial New Zealand via the music of Chaminade, who, though little known today, was as much a musical celebrity then, as perhaps some of our female pop stars are today. My thanks goes to my university supervisor, Andrew Deruchie, for his meticulous advice about academic writing. I am also very grateful to Thelma Fisher, in the University Library, for her patience, answering many very basic questions, helping me track down obscure sources and reassuring me that I was pursuing something worthwhile and interesting. Thank you to David Murray, whose suggestions for areas of research, places to dig up information and records, and sharing sources from his own research, were immensely valuable. I must also acknowledge my mother, Margaret Crawshaw, who has a vast collection of books, magazines and LP records all pertaining to music and teaching, of which I could consult whenever I was able. Thank you to Helen Edwards who somehow found out I was writing about Chaminade’s music in New Zealand, and told me of her connection, in that her mother was instrumental in forming New Zealand’s only Chaminade Club. I am also grateful to Jane Malthus who took the time to look up how ‘satin chaminade’ may have come about. iv Overseas sources to acknowledge include David C. H. Wright for his interest in my project and assistance in sourcing information about the Associated Board, and Veronique Lavedan from Editions Enoch, for answering various questions regarding Chaminade and sending me the copy of her publishing contract. Many individuals have taken an interest in my project and freely presented me with scores of old music by Chaminade and other composers of the time – Velma Martin and Hannah Murray, in particular. Thank you also to Eli Gray Smith, for sharing his experiences as a cinema pianist and his knowledge of Chaminade repertoire within his teaching. I am also thankful of the support of the Society of the Women Musicians of Otago, the Friends of the Southern Sinfonia, and the Otago and Hamilton branches of the New Zealand Institute of Registered Music Teachers, all who have invited me to speak and perform, giving me valuable experience and feedback which contributed to my research. Enthusiastic and interested audiences make it all worthwhile! v Table of Contents Abstract ....................................................................................................................................................... iii Acknowledgements ................................................................................................................................... iv Table of Contents ...................................................................................................................................... vi Table of Figures and Examples ............................................................................................................ viii Introduction .................................................................................................................................................. 1 Who was Cécile Chaminade? .............................................................................................................. 4 Chaminade’s Presence in New Zealand. ........................................................................................... 9 Chapter 1: The pianoforte works of Chaminade, piano teaching, and the student recital. ........... 16 The Beginnings of the Student Recital. ............................................................................................ 20 Many Hands, Many Pianos. ................................................................................................................ 27 The Solo Piano Repertoire of Chaminade and her Contemporaries. .......................................... 37 The Nelson School of Music – Established German traditions in a British Colonial Outpost. .. 41 The Southern-most Performances of Chaminade. ......................................................................... 44 The British Examinations. ................................................................................................................... 45 The Performing Arts Competitions .................................................................................................... 50 The Beginning ................................................................................................................................... 52 The Repertoire .................................................................................................................................. 54 Public Reaction to the Competitions. ............................................................................................ 59 Conclusion ............................................................................................................................................. 63 Chapter 2: Miscellaneous Concerts and the Songs of Chaminade.................................................. 65 The International Performers .............................................................................................................. 68 Emma Albani ..................................................................................................................................... 68 Belle Cole .......................................................................................................................................... 70 Ada Crossley ..................................................................................................................................... 72 Dame Clara Butt ............................................................................................................................... 75 Paul Dufault ....................................................................................................................................... 77 Maurice d’Oisley ............................................................................................................................... 79 The Miscellaneous Concert ................................................................................................................ 80 The
Load more

Recommended publications
  • 17.2. Cylinders, Ed. Discs, Pathes. 7-26
    CYLINDERS 2M WA = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Repro B/T = Excellent reproduction Edison orange box and printed top. All others in clean, used boxes. Any mold on wax cylinders is always described. All cylinders not described as in OB (original box with generic top) or OBT (original box and original top) are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual and refers to the cylinders rather than the boxes. Any major box problems are noted. CARLO ALBANI [t] 1039. Edison BA 28116. LA GIOCONDA: Cielo e mar (Ponchielli). Repro B/T. Just about 1-2. $30.00. MARIO ANCONA [b] 1001. Edison 2M Wax B-41. LES HUGUENOTS: Nobil dama (Meyerbeer). Announced by Ancona. OBT. Just about 1-2. $75.00. BLANCHE ARRAL [s] 1007. Edison Wax 4-M Amberol 35005. LE COEUR ET LA MAIN: Boléro (Lecocq). This and the following two cylinders are particularly spirited performances. OBT. Slight box wear. Just about 1-2. $50.00. 1014. Edison Wax 4-M Amberol 35006. LA VÉRITABLE MANOLA [Boléro Espagnole] (Bourgeois). OBT. Just about 1-2. $50.00. 1009. Edison Wax 4-M Amberol 35019. GIROLFÉ-GIROFLA: Brindisi (Lecocq). OBT. Just about 1-2. $50.00. PAUL AUMONIER [bs] 1013. Pathé Wax 2-M 1111. LES SAPINS (Dupont). OB. 2. $20.00. MARIA AVEZZA [s]. See FRANCESCO DADDI [t] ALESSANDRO BONCI [t] 1037. Edison BA 29004. LUCIA: Fra poco a me ricovero (Donizetti).
    [Show full text]
  • An-American-Woman-Forgotten
    An American Woman Forgotten by Donald George and Lucy Mauro May 29 marks the 40th anniversary of the death of Margaret Ruthven Lang. If you have never heard of Margaret Ruthven Lang, you are not alone. This forgotten American woman, born in Boston in 1867 and who lived until 1972, spent the first 50 years of her life surrounded by prominent musicians , poets and painters of the day and indeed becoming one of the most highly regarded female composers of her time, the first American woman to have a major orchestra perform her compositions in 1893, and to publish some 150 works, performed by great artists throughout the US and Europe, only to spend the next 50 years of her life in anonymity, never to compose again or hardly even to mention it. The story of this fascinating woman begins with her musical family. Lang was the eldest daughter of Benjamin Johnson, “B.J.” Lang, a great musician himself – a Boston musical Brahmin, starting such venerable choral organizations as the Apollo Club and the Cecilia Society (known today as the Boston Cecilia) and a prominent conductor, organist, pianist and composer. He conducted the premier of the famous Tchaikovsky piano concerto (the one everybody knows was actually premiered in America) with Hans von Bülow performing and would later perform the piano part himself. Margaret’s mother was Frances Burrage Lang, an amateur singer. The Langs knew many of the great musicians of the day, Dvořák, Gottshalk, Paderewski. MacDowell, Liszt and Richard Wagner (Margaret and the Wagner children were playmates), to name a few.
    [Show full text]
  • ARSC Journal
    THE MARKETPLACE HOW WELL DID EDISON RECORDS SELL? During the latter part of 1919 Thomas A. Edison, Inc. began to keep cumulative sales figures for those records that were still available. The documents were continued into 1920 and then stopped. While the documents included sales figures for all series of discs time allowed me to copy only those figures for the higher priced classical series. Thus the present article includes the 82,000 ($2.00); 82,500 ($2.50); 83,000 ($3.00) and 84,000 ($4.00) series. Should there be sufficient interest it may be possible to do the other series at a later date. While the document did list some of the special Tone-Test records pressing figures were included for only two of them. I have arbitrarily excluded them and propose to discuss the Edison Tone Tests at a later date. The documents also originally included supplementary listings, which, for the sake of convenience, have been merged into the regular listings. The type copy of the major portion of the listings has been taken from regular Edison numerical catalogs and forms the framework of my forthcoming Complete Edison Disc Numerical Catalog. Several things may be noted: 1) Many of the sales figures seem surprisingly small and many of the records must be classed as rarities; 2) Deletion was not always because of poor sales-mold damage also played a part; 3) Records were retained even with extremely disappointing sales. Without a knowledge of the reason for discontinuance we cannot assume anything concerning records that had already been discontinued.
    [Show full text]
  • Carla Bruni Announces New Album 434.61 Kb
    Carla Bruni Announces New Album ‘French Touch’ To Be Released on October 6th via Decca Records First Single, Cover of Depeche Mode’s ‘Enjoy The Silence’ Available Now Photo credit: Matthieu Zazzo Internationally acclaimed singer-songwriter Carla Bruni announces the release of her 5th studio album, an English-language collection of cover songs produced by legendary producer, composer and musician David Foster entitled ‘French Touch’, released on October 6th via Decca Records. Click Here for the stunning video (directed by Fabienne Berthaud) for first single ‘Enjoy The Silence’, a stripped down and intimate rendition of the Depeche Mode classic, which premiered on Billboard.com accompanied by an interview with Carla. The song is available now on all digital and streaming services carlabruni.lnk.to/EnjoyTheSilence Since her youth, Carla has assembled a trove of all-time sentimental favourites—pop songs forever associated with a person or place or moment in time, the sort of records that she says, borrowing the French term for love at first sight, “have been a coup de foudre.” The album gives credence to its title, richly melodic, warm yet minimal, and often slyly playful – all the covers in this collection have been given that ‘French Touch’, and still have all the universal appeal of their originals, albeit with a sultry flavour all their own. 7 Broadbent Close, Highgate Village, London, N6 5JW t 020 3213 0135 f 020 8348 7776 e [email protected] www.republicmedia.net @republic_media Take the lead single, ‘Enjoy the Silence’. Depeche Mode’s dark yet soaring 1990 pop classic is the sort of anthem most musicians wouldn’t dare mess with—“a song that doesn’t need a cover,” as Carla puts it—yet the ‘French Touch’ take is something else altogether.
    [Show full text]
  • CYLINDERS 2M = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet
    CYLINDERS 2M = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. ReproB/T = Excellent reproduction orange box and printed top Any mold on wax cylinders is always described. All cylinders are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual. All cylinders EDISON unless otherwise indicated. “Direct recording” means recorded directly to cylinder, rather than dubbed from a Diamond-Disc master. This is used for cylinders in the lower 28200 series where there might be a question. BLANCHE ARRAL [s] 4108. Edison BA 28125. MIGNON: Je suis Titania (Thomas). Repro B/T. Just about 1-2. $40.00. ADELINA AGOSTINELLI [s]. Bergamo, 1882-Buenos Aires, 1954. A student in Milan of Giuseppe Quiroli, whom she later married, Agostinelli made her debut in Pavia, 1903, as Giordano’s Fedora. She appeared with success in South America, Russia, Spain, England and her native Italy and was on the roster of the Hammerstein Manhattan Opera, 1908-10. One New York press notice indicates that her rendering of the “Suicidio” from La Gioconda on a Manhattan Sunday night concert “kept her busy bowing in recognition to applause for three or four minutes”. At La Scala she was cast with Battistini in Simon Boccanegra and created for that house in 1911 the Marschallin in their first Rosenkavalier. Her career continued into the mid-1920s when she retired to Buenos Aires and taught. 4113. Edison BA 28159. LA TRAVIATA: Addio del passato (Verdi). ReproB/T.
    [Show full text]
  • CYLINDERS 2M = 2-Minute Wax, 4M WA= 4-Minute Wax, 4M BA = Edison Blue Amberol, OBT = Original Box and Top, OP = Original Descriptive Pamphlet
    CYLINDERS 2M = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Any mold on wax cylinders is always described. All cylinders are boxed (most in good quality boxes) with tops and are standard 2” diameter. All grading is visual. All cylinders EDISON unless otherwise indicated. ADELINA AGOSTINELLI [s]. Bergamo, 1882-Buenos Aires, 1954. A student in Milan of Giuseppe Quiroli, whom she later married, Agostinelli made her debut in Pavia, 1903, as Giordano’s Fedora. She appeared with success in South America, Russia, Spain, England and her native Italy and was on the roster of the Manhattan Opera, 1908-10. One New York press notice indicates that her rendering of the “Suicidio” from La Gioconda on a Manhattan Sunday night concert “kept her busy bowing in recognition to applause for three or four minutes”. At La Scala she was cast with Battistini in Simon Boccanegra and created for that house in 1911 the Marschallin in their first Rosenkavalier. Her career continued into the mid-1920s when she retired to Buenos Aires and taught. 9142. BA 28137. TOSCA: Vissi d’arte (Puccini). OBT and pamphlet. Just about 1-2. $50.00. CESARE ALESSANDRONI [b] 9127. U.S. Everlasting 33027. OTELLO: Credo (Verdi). In an Edison Orange repro- duction box. 2. $50.00. CORNELIUS BRONSGEEST [b] 9150. BA 26122. TANNHÄUSER: O du mein holder Abendstern (Wagner). Reproduction Edison orange box. Cons. ADELINA AGOSTINELLI 2. $50.00. JOHANNE BRUN [s]. 1874-1954. Her debut was at the Royal Danish Opera, 1896, as the Queen of the Night in The Magic Flute.
    [Show full text]
  • "Wc:M21:3 A9etl)
    SINGLE COPIES, to VOL. Xl.No. 1. PER YEAR, ONE 1);.n.-:1,./',FR a.#0T-44sh..L.,JCING; AND lAsSALCHINI= NOVELTY NEWS "Wc:m21:3a9etl) 1 Published Each Month by Edward Lyman Bill at 373 Fourth Avenue, New York, January 15, 1915 Victrola XVI, $200 Mahogany or ,P I The instrument by which the value of all musical instruments is measured 1 111=11111111L ,allianteo Entered as second.class matter May 2, 3905, at the post office at New York, N. Y., under the act of Congress of March 2, 191, THE TALKING MACHINE WORLD. DEALERS IN THE SALTER LINE MADE MANY THOUSANDS OF DOLLARS DURING THE HOLIDAY SEASON SELLING THESE CABINETS 'HEY ARE SELLING THEM THIS MONTH, TOO, i=iND WILL BE NEXT MONTH TO BUYERS OF MACHINES WHO ARE JUST BEGINNING TO FEEL THE NEED OF A PLACE TO PUT THEIR RECORDS. SALTER CABINETS (\ I:1NET \\ 11 I± Standard of Industry IIr"yIBT ' 1 \ OF COURSE, YOU HAVE GOT TO CALL THE ATTENTION OF YOUR TRADE TO THEM AND SHOW THEM.IT IS THE ONLY WAY TO ILLUSTRATE HOW PERFECTLY THE CABINETS COMBINE WITH THE MACHINES. WE HAVE STORAGE CABINETS FOR THOSE WHO HAVE A LARGE COLLEC- TION AND OTHER CABINETS THAT WILL MEETANYlifCONDITION THAT CONFRONTS YOU. C., lt. i:\L 1bo.19 U VICTROLA IX. ........... SALTER MFG. CO. 1 337-39 Oakley Boulevard CHICAGO 1 The Talking Machine World Vol. 11.No. 1. New York, January 15, 1915. Price Ten Cents HEAVY FIRE LOSS IN ATLANTA. H. C. BROWN AS A BIG GAME HUNTER GET.TOGETHER MEET IN BUFFALO.
    [Show full text]
  • CARLA BRUNI Releases New Song and Video for Cover of the Rolling Stones’ ‘Miss You’
    CARLA BRUNI Releases New Song and Video for Cover of The Rolling Stones’ ‘Miss You’ ‘MISS YOU’ AVAILABLE NOW, CLICK HERE TO WATCH Announces ‘French Touch’ Track Listing and Album Artwork ‘French Touch’ Out October 6th via Decca Pre-order the Album Now Internationally acclaimed singer-songwriter Carla Bruni has released a new song and captivating video directed by Jean-Baptiste Mondino (Madonna, Bjork, Sting, Vanessa Paradis) for her cover of The Rolling Stones’ ‘Miss You’, the latest release from her forthcoming 5th studio album ‘French Touch’, which is available for pre-order today. CLICK HERE to watch the music video, and CLICK HERE to watch a short film on the making of the album. Produced by legendary musician, producer and composer David Foster, ‘French Touch’ will be released on October 6th Decca. “Miss You” is available now via all digital and streaming services, along with the album’s first single, an intimate stripped-down rendition of Depeche Mode’s ‘Enjoy the Silence’. CLICK HERE to watch the video for ‘Enjoy the Silence’, which premiered via Billboard. ‘French Touch’ brings together a delightful trove of sentimental pop favourites; all reimagined in Carla’s intimate and moving acoustic style and chosen for their personal significance – in her own words, songs that inspire the French term for love at first sight – "a coup de foudre." Coup de foudre more or less also describes what happened when Bruni met Grammy award winning producer, composer, and musician David Foster after an L.A. performance in 2014. Foster volunteered to produce Carla’s next record on the spot, and the two began a transatlantic sharing of songs, which was then shaped during twin recording sessions in Paris and L.A.
    [Show full text]
  • New Copy- Made in America
    MADE IN AMERICA: THE ORGAN WORKS OF ARTHUR FOOTE BY PATRICK KRONNER Submitted to the faculty of the Jacobs School of Music in partial fulfilment of the requirements for the degree, Doctor of Music Indiana University July, 2017 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. Doctoral Committee _______________________________________ Janette Fishell, Research Director and Chair _______________________________________ Andrew Mead _______________________________________ Frank Samaratto _______________________________________ Christopher Young July 11, 2017 ii Copyright © 2017 Patrick J. Kronner iii In memoriam George Grobbel. iv Acknowledgements Thank you to Claire Caruso, Paul Cienniwa, Susan Clermont, Leo Collins, Sallyjo Belanger, Barbara Benedett, George Bozeman, Janette Fishell, Wayne Leupold, Maria Jane Loizou, Andrew Mead, Barbara Owen, Paul Peeters, Maryalice Perrin-Mohr, Mike and Susan Powell, Frank Samarotto, Jacob Taylor, Christopher Young, my friends and colleagues at the University of Notre Dame and my family. v Table of Contents Acknowledgments………...……………………………………………………………….v Table of Contents…………………………………………………………………….…...vi List of Examples………………………..…...…………………………………………..viii List of Tables……………….………………………………………………………….….x List of Appendices ............................................................................................................. xi Chapter 1: Introduction ......................................................................................................
    [Show full text]
  • Album Review: Carla Bruni's Little French Songs
    Album review: Carla Bruni's Little French Songs Kyle Doyle French Pop Music Examiner Little French Songs by Carla Bruni Released on April 1st, 2013, Little French Songs is Carla Bruni's fourth album and first release in almost five years. Before viewing the track listening, Little French Songs seems like it might be a cover album, but greets the audience with 10 originals and 1 fresh adaption by Bruni. The listener is immediately drawn in by the melancholic love song "J'arrive à toi," which so well embodies the nostalgia and romance found in traditional French chanson. The following tracks offer the best of all of Bruni's moods with songs like "Prière" and "Darling" echoing the nostalgia and calm found on Comme si de rien n'était (2008), while the delicious journey of "Chez Keith et Anita" and bounce of "Mon Raymond" provide the album with a little lift. Carla offers some edge with "Pas Une Dame," which almost seems to be the ex-First Lady's farewell from life at L'Élysée, reclaiming her freedom and asserting that she isn't much of a lady after all. "La valse posthume"offers something new from Carla, following in the footsteps of Serge Gainsbourg by adding lyrics to a waltz by Chopin. The overarching theme of Little French Songs seems to be a celebration of classic French chanson, in which Carla tries to appeal to both domestic and foreign audiences, embodied in the not-so-title track "Little French Song." Here, mixing French and English, Carla seems to be making a plea to the French audience to return to chanson and the sentiment it contains by extolling the the likes of Piaf, Barbara and Trenet, while also pandering to the exoticism and romanticism of foreign audiences, reminding them of how wherever in the world they may be French music can take them on a journey to Paris.
    [Show full text]
  • Billboard Magazine
    Pop's princess takes country's newbie under her wing as part of this season's live music mash -up, May 31, 2014 1billboard.com a girl -powered punch completewith talk of, yep, who gets to wear the transparent skirt So 99U 8.99C,, UK £5.50 SAMSUNG THE NEXT BIG THING IN MUSIC 200+ Ad Free* Customized MINI I LK Stations Radio For You Powered by: Q SLACKER With more than 200 stations and a catalog of over 13 million songs, listen to your favorite songs with no interruption from ads. GET IT ON 0)*.Google play *For a limited time 2014 Samsung Telecommunications America, LLC. Samsung and Milk Music are both trademarks of Samsung Electronics Co. Ltd. Appearance of device may vary. Device screen imagessimulated. Other company names, product names and marks mentioned herein are the property of their respective owners and may be trademarks or registered trademarks. Contents ON THE COVER Katy Perry and Kacey Musgraves photographed by Lauren Dukoff on April 17 at Sony Pictures in Culver City. For an exclusive interview and behind-the-scenes video, go to Billboard.com or Billboard.com/ipad. THIS WEEK Special Double Issue Volume 126 / No. 18 TO OUR READERS Billboard will publish its next issue on June 7. Please check Billboard.biz for 24-7 business coverage. Kesha photographed by Austin Hargrave on May 18 at the MGM Grand Garden Arena in Las Vegas. FEATURES TOPLINE MUSIC 30 Kacey Musgraves and Katy 5 Can anything stop the rise of 47 Robyn and Royksopp, Perry What’s expected when Spotify? (Yes, actually.) Christina Perri, Deniro Farrar 16 a country ingenue and a Chart Movers Latin’s 50 Reviews Coldplay, pop superstar meet up on pop trouble, Disclosure John Fullbright, Quirke 40 “ getting ready for tour? Fun and profits.
    [Show full text]
  • Society for American Music Forty-Second Annual Conference
    Society for American Music Forty-Second Annual Conference Hosted by Northeastern University and Babson College Hyatt Regency Cambridge 9–13 March 2016 Boston, Massachusetts Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), the early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. Each member lists current topics or projects that are then indexed, providing a useful means of contact for those with shared interests.
    [Show full text]