20Th Century Classical Period
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Josef Tal on the Cusp of Israeli Statehood, Or, the Simultaneity of Adjacency and Oppositionality
Josef Tal on the Cusp of Israeli Statehood, or, The Simultaneity of Adjacency and Oppositionality Assaf Shelleg Acta Musicologica, Volume 91, Number 2, 2019, pp. 146-167 (Article) Published by International Musicological Society For additional information about this article https://muse.jhu.edu/article/741611 Access provided at 28 Nov 2019 16:05 GMT from Tel Aviv University i i i i Josef Tal on the Cusp of Israeli Statehood, or, The Simultaneity of Adjacency and Oppositionality Assaf Shelleg Jerusalem To the amateur composer who comes to this country with an inheritance of Russian of Balkan folk tunes, the absorption of the Oriental Jewish and Arabian music is a gain. The traditionalism of his original country receives a new accent. To the professional composer whose material is the European art-music, the Jewish and Arab-Palestinian folklore opens up a fertile and rejuvenating world. A few will attach certain ourishes, some popular syl- lables to the iron structure of modern art-language; in other words they write a kind of “quotation-music” with wrong notes.1 [Sharett’s music] demonstrates neither melodic templates in their conven- tional form nor harmonies using parallel fourths and fths mixed with seconds—a falsied acoustic substitute; nor is there any articial immer- sion in the past in the form of shallow mimicry of biblical chants. We must not follow the easy path of success, but rather aspire to achieve in our spiritual creation what we had accomplished politically.2 The statements “‘quotation music’ with wrong notes,” “fal- sied acoustics,” and “shallow mimicry of biblical chants” could have equally come from either of the composers, Stefan Wolpe or Josef Tal. -
Boca Raton and the Florida Land Boom of the 1920S
20 TEQUESTA Boca Raton and the Florida Land Boom of the 1920s by Donald W. Curl The Florida land boom of 1924-25 is commonly mentioned by historians of the twenties and of the South. Most of them see the boom as a phenomenon of the Miami area, though they usually mention in passing that no part of the state remained immune to the speculation fever. Certainly Miami's developments received major attention from the national press and compiled amazing financial statistics for sales and inflated prices. Still, similar activity took place throughout the state. Moreover, the real estate boom in Palm Beach County began as early as that in Miami, contained schemes that equaled that city's in their imagination and fantasy, and also captured national attention. Finally, one of these schemes, that of Addison Mizner's Boca Raton, probably served as the catalyst for exploiting the boom bubble. The Florida land boom resulted from a number of complex fac- tors. Obviously, the mild winter climate had drawn visitors to the state since the Civil War. Summer was said "to spend the winter in West Palm Beach." Now with the completion of the network of roads known as the Dixie Highway and the increasing use of the automobile, Florida became easily accessible to the cities of the northeast and midwest. For some, revolting against the growing urbanization of the north, Florida became "the last frontier." Others found romance in the state's long and colorful history and "fascination in her tropical vege- tation and scenery." Many were confident in the lasting nature of the Coolidge prosperity, and, hearing the success stories of the earliest Donald W. -
Prohibition, American Cultural Expansion, and the New Hegemony in the 1920S: an Interpretation
Prohibition, American Cultural Expansion, and the New Hegemony in the 1920s: An Interpretation IAN TYRRELL* In the [920s American prohibitionists, through the World League against Alcohol ism, sought to extend their war on liquor beyond the boundaries of the United States. Prohibitionistsfailed in their efforts due to anti-American sentiment, complex class and cultural opposition to prohibition, and negative reporting of the experi ment with prohibition in the U.S. Nevertheless, restrictive anti-alcohol laws were introduced in a number ofcountries. Moreover, the efforts ofAmerican prohibition ists furthered the larger process of American cultural expansion by emphasizing achievements of the U.S. in economic modernization and technical advancement. This episode in American cultural expansion occurred with the support of anti alcohol groups in foreign countries that embraced the message equating American reform with modernity. Prohibitionists abroad colluded in the process, thereby accepting a form ofAmerican cultural hegemony. En 1920, par l'intermédiaire de la World League against Alcoholism, les prohibi tionnistes américains se sont efforcés de pousser leur lutte contre l'alcool au-delà des frontières des États-Unis. Cependant, le sentiment anti-américain, l'opposition complexe des classes et de la culture à l'endroit de la prohibition ainsi que la mauvaise presse dont l'expérience américaine a fait l'objet ont fait échouer leurs efforts. Néanmoins, plusieurs pays ont adopté des lois restrictives contre l'alcool. Qui plus est, les efforts des prohibitionnistes américains ont favorisé l'expansion de la culture américaine en mettant en valeur les réussites des É.-u. au chapitre de la modernisation économique et de l'avancement de la technologie. -
College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Chapter 2 Music in the United States Before the Great Depression
American Music in the 20th Century 6 Chapter 2 Music in the United States Before the Great Depression Background: The United States in 1900-1929 In 1920 in the US - Average annual income = $1,100 - Average purchase price of a house = $4,000 - A year's tuition at Harvard University = $200 - Average price of a car = $600 - A gallon of gas = 20 cents - A loaf of Bread = 20 cents Between 1900 and the October 1929 stock market crash that triggered the Great Depression, the United States population grew By 47 million citizens (from 76 million to 123 million). Guided by the vision of presidents Theodore Roosevelt1 and William Taft,2 the US 1) began exerting greater political influence in North America and the Caribbean.3 2) completed the Panama Canal4—making it much faster and cheaper to ship its goods around the world. 3) entered its "Progressive Era" by a) passing anti-trust laws to Break up corporate monopolies, b) abolishing child labor in favor of federally-funded puBlic education, and c) initiating the first federal oversight of food and drug quality. 4) grew to 48 states coast-to-coast (1912). 5) ratified the 16th Amendment—estaBlishing a federal income tax (1913). In addition, by 1901, the Lucas brothers had developed a reliaBle process to extract crude oil from underground, which soon massively increased the worldwide supply of oil while significantly lowering its price. This turned the US into the leader of the new energy technology for the next 60 years, and opened the possibility for numerous new oil-reliant inventions. -
Kostka, Stefan
TEN Classical Serialism INTRODUCTION When Schoenberg composed the first twelve-tone piece in the summer of 192 1, I the "Pre- lude" to what would eventually become his Suite, Op. 25 (1923), he carried to a conclusion the developments in chromaticism that had begun many decades earlier. The assault of chromaticism on the tonal system had led to the nonsystem of free atonality, and now Schoenberg had developed a "method [he insisted it was not a "system"] of composing with twelve tones that are related only with one another." Free atonality achieved some of its effect through the use of aggregates, as we have seen, and many atonal composers seemed to have been convinced that atonality could best be achieved through some sort of regular recycling of the twelve pitch class- es. But it was Schoenberg who came up with the idea of arranging the twelve pitch classes into a particular series, or row, th at would remain essentially constant through- out a composition. Various twelve-tone melodies that predate 1921 are often cited as precursors of Schoenberg's tone row, a famous example being the fugue theme from Richard Strauss's Thus Spake Zararhustra (1895). A less famous example, but one closer than Strauss's theme to Schoenberg'S method, is seen in Example IO-\. Notice that Ives holds off the last pitch class, C, for measures until its dramatic entrance in m. 68. Tn the music of Strauss and rves th e twelve-note theme is a curiosity, but in the mu sic of Schoenberg and his fo ll owers the twelve-note row is a basic shape that can be presented in four well-defined ways, thereby assuring a certain unity in the pitch domain of a composition. -
Federal Reserve Bulletin August 1925
FEDERAL RESERVE BULLETIN AUGUST, 1925 ISSUED BY THE FEDERAL RESERVE BOARD AT WASHINGTON Position of the Reserve Banks at Mid-Year Business Conditions in the United States Report of the Agent General for Reparation Payments WASHINGTON GOVERNMENT PRINTING OFFICE 1925 Digitized for FRASER http://fraser.stlouisfed.org/ Federal Reserve Bank of St. Louis FEDERAL RESERVE BOARD Ex officio members: D. R. CRISSINGER, Governor. EDMUND PLATT, Vice Governor. A. W. MELLON, Secretary of the Treasury, Chairman. ADOLPH G. MILLER. CHARLES S. HAMLIN. J. W. MCINTOSH, GEORGE R. JAMEB. Comptroller of the Currency. EDWARD H. CUNNINGHAM. WALTER L. EDDY, Secretary. WALTER WYATT, General Counsel. J. C. NOELL, Assistant Secretary. WALTER W. STEWART, Director, Division of Research W. M. IMLAY, Fiscal Agent. and Statistics, J. F. HERSON, E. A. GOLDENWEISER, Assistant Director, Division of Chief, Division of Examination, and Chief Federal Research and Statistics. Reserve Examiner. E. L. SMEAD, Chief, Division of BanVOperations. FEDERAL ADVISORY COUNCIL District No. 1 (BOSTON) CHAS. A. MORSS. District No. 2 (NEW YORK) PAUL M. WARBURG, President, District No. 3 (PHILADELPHIA) L. L. RUE. District No. 4 (CLEVELAND) GEORGE A. COULTON. District No. 5 (RICHMOND) JOHN M. MILLER, Jr. District No. 6 (ATLANTA) OSCAR WELLS. District No. 7 (CHICAGO) FRANK O. WETMORE. District No. 8 (ST. LOUIS) BRECKINRIDGE JONES. District No. 9 (MINNEAPOLIS) G. H. PRINCE. District No. 10 (KANSAS CITY) E. F. SWINNEY, Vice President, District No. 11 (DALLAS) W. M. MCGREGOR. District No. 12 (SAN FRANCISCO).-: HENRY S. MCKEE. Digitized for FRASER http://fraser.stlouisfed.org/ Federal Reserve Bank of St. Louis OFFICERS OF FEDERAL RESERVE BANKS Federal Reserve Bank of— Chairman Governor Deputy governor Cashier Boston. -
Selective Analysis of 20Th Century Contemporary Percussion Ensembles Designated for Three Or More Players
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1968 Selective analysis of 20th century contemporary percussion ensembles designated for three or more players Raymond Francis Lindsey The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Lindsey, Raymond Francis, "Selective analysis of 20th century contemporary percussion ensembles designated for three or more players" (1968). Graduate Student Theses, Dissertations, & Professional Papers. 3513. https://scholarworks.umt.edu/etd/3513 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A SELECTIVE ANALYSIS OF 2 0 ^ CENTURY CONTEMPORARY PERCUSSION ENSEMBLES DESIGNATED FOR THREE OR MORE PLAYERS by Raymond Francis Lindsey B.M* University of Montana 1965 Presented in partial fulfillment of the requirements for the degree of Master of Music University of Montana 1968 Approved by; L L u ' ! JP. 4 . Chairman, Board of Exami4/ers Deah/, Graduate School 1 :: iosa Date UMI Number: EP35093 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. -
A Librettist's Reflections on Opera in Our Times
Israel Eliraz A LIBRETTIST'S REFLECTIONS ON OPERA IN OUR TIMES [1] Pierre Boulez may have mourned the death of the opera and suggested setting fire to opera houses (he has repented since and has even written in this rnusical form himsel~, but the Old Lady is still going strong. She is no Ionger as regal and as much admired as in the 18th century, nor is she as popular and vital as she was in mid-I9th century for bold young rivals have entered the arena: film, radio, musicals and television. But reviewing the new operas written in this century, from MOSES UND ARON by Schoenberg and WOZZECK by Berg, to works by Luigi Dallapiccola, lldebrando Pizzetti, Werner Egk, Marcel Delannoy and others, one is taken by surprise by the abundance, versatility and ingenuity in musical, theatrical and ideological terms, of modern opera. What the rnusical avant -garde considered a defunct creature, a 'dinosaur' of sorts (this strange animal is over 370 years old), became, to their dismay, a phoenix redux. At tirnes it metarnorphosed into political drarna (Weiii-Brecht); at others it returned to the oratory form (Stravinsky, Honegger, Debussy), and on still other occasions it turns upon itself with laudable irony, as in Mauricio Kagel's STAATSTHEATER. Anylhing can happen in an opera, all is allowed and, if one rnay venture to express some optirnisrn - which is not easy in our province - it still has some surprises in store for us. [2] Music Iovers have been accustorned to think that it is in the nature of opera to address the 'larger issues'- biblical, rnylhological, historical, national. -
CLAUDE DEBUSSY in 2018: a CENTENARY CELEBRATION PROGRAMME Monday 19 - Friday 23 March 2018 CLAUDE DEBUSSY in 2018: a CENTENARY CELEBRATION
19-23/03/18 CLAUDE DEBUSSY IN 2018: A CENTENARY CELEBRATION PROGRAMME Monday 19 - Friday 23 March 2018 CLAUDE DEBUSSY IN 2018: A CENTENARY CELEBRATION Patron Her Majesty The Queen President Sir John Tomlinson CBE Principal Professor Linda Merrick Chairman Nick Prettejohn To enhance everyone’s experience of this event please try to stifle coughs and sneezes, avoid unwrapping sweets during the performance and switch off mobile phones, pagers and digital alarms. Please do not take photographs or video in 0161 907 5555 X the venue. Latecomers will not be admitted until a suitable break in the 1 2 3 4 5 6 programme, or at the first interval, whichever is the more appropriate. 7 8 9 * 0 # < @ > The RNCM reserves the right to change artists and/or programmes as necessary. The RNCM reserves the right of admission. 0161 907 5555 X 1 2 3 4 5 6 7 8 9 * 0 # < @ > Welcome It gives me great pleasure to welcome you to Claude Debussy in 2018: a Centenary Celebration, marking the 100th anniversary of the death of Claude Debussy on 25 March 1918. Divided into two conferences, ‘Debussy Perspectives’ at the RNCM and ‘Debussy’s Late work and the Musical Worlds of Wartime Paris’ at the University of Glasgow, this significant five-day event brings together world experts and emerging scholars to reflect critically on the current state of Debussy research of all kinds. With guest speakers from 13 countries, including Brazil, China and the USA, we explore Debussy’s editions and sketches, critical and interpretative approaches, textual and cultural-historical analysis, and his legacy in performance, recording, composition and arrangement. -
Durham E-Theses
Durham E-Theses English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene ROBINSON, ALICE,MERIEL How to cite: ROBINSON, ALICE,MERIEL (2021) English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13924/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 English Folk under the Red Flag: The Impact of Alan Bush’s ‘Workers’ Music’ on 20 th Century Britain’s Left-Wing Music Scene Alice Robinson Abstract Workers’ music: songs to fight injustice, inequality and establish the rights of the working classes. This was a new, radical genre of music which communist composer, Alan Bush, envisioned in 1930s Britain.