Hancock's Statue Is a Work Made for Hire
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Music and the American Civil War
“LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans. -
Tear It Down! Save It! Preservationists Have Gained the Upper Hand in Protecting Historic Buildings
Tear It Down! Save It! Preservationists have gained the upper hand in protecting historic buildings. Now the ques- tion is whether examples of modern architecture— such as these three buildings —deserve the same respect as the great buildings of the past. By Larry Van Dyne The church at 16th and I streets in downtown DC does not match the usual images of a vi- sually appealing house of worship. It bears no resemblance to the picturesque churches of New England with their white clapboard and soaring steeples. And it has none of the robust stonework and stained-glass windows of a Gothic cathedral. The Third Church of Christ, Scientist, is modern architecture. Octagonal in shape, its walls rise 60 feet in roughcast concrete with only a couple of windows and a cantilevered carillon interrupting the gray façade. Surrounded by an empty plaza, it leaves the impression of a supersized piece of abstract sculpture. The church sits on a prime tract of land just north of the White House. The site is so valua- ble that a Washington-based real-estate company, ICG Properties, which owns an office building next door, has bought the land under the church and an adjacent building originally owned by the Christian Science home church in Boston. It hopes to cut a deal with the local church to tear down its sanctuary and fill the assembled site with a large office complex. The congregation, which consists of only a few dozen members, is eager to make the deal — hoping to occupy a new church inside the complex. -
April 1920) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1920 Volume 38, Number 04 (April 1920) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 38, Number 04 (April 1920)." , (1920). https://digitalcommons.gardner-webb.edu/etude/667 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]. Jlae Utiuiufi SPRING NUMBER 1MUUISZ5 LJEJNTS APRIL 1920 $ 2.00 A YEAR The Tonne daugrhter of the Into Tnrasn-Bonlba, a new opera by A Brrent Opera Trnst, according: to Colerldgre-Taylor is following a musical Marcel Sninuel-Houssenu, was recently report. Is being proposed in tlif« career, and has already a number of songs country, which would control all presenta¬ tions of opera, all singers, all opera houses, ■SS.rJE •! *£rS'.!Bf j" ' 1 CONTENTS FOR APRIL, 1920 sHSr!Sir'-s‘^“'s SV,s£S: APRIL 1920 Page THE ETUDE Page 218 APRIL 1920 THE Jane Novak in “The River’s End” Jane Novak is an emotional ac¬ PUPILS RECITALS AND PLEASED AUDIENCES tress of sincere power and dis¬ tinguished ability. -
Book Reviews and Book Notices
BOOK REVIEWS AND BOOK NOTICES Stephen Foster, Ainerica's Troubadour. By John Tasker Howard. (New York: Thomas Y. Crowell Company, 1934. Pp. 451. $3.50). This is the best biography of Stephen Foster yet written, and the author is the best equipped person to write such a biography. He knows how to use source material. He is skeptical about using any material that cannot be documented. This skepticism, or rather his doubt about many Foster traditions, impresses the student of history. The author has brushed aside many of the purely fictional, legendary stories, has gone directly to the docu- ments, and has made the real Stephen Foster live again. Much attention has been given to Foster's early environment and his childhood days. But there is a reason. Without this setting one cannot understand the true Foster. Contrary to common belief, we learn that Foster came from the pioneer aristocracy of Pittsburgh. His family moved in the most exclusive circles of Pittsburgh society. By training, by profession, and in business, the Fosters associated with the most prominent people of Pittsburgh and Pennsylvania. James Buchanan was an intimate friend of the family. Stephen Foster and his work form an integral part of the history of mid-nineteenth century America. His songs came nearer giving national expression to the things the masses were doing, and thinking, than the pro- ductions of any other song writer. While Foster was growing up in Pitts- burgh, the people living west of the Allegheny Mountains were not affected by foreign music. Foster was distinctly American, both in life and in his music. -
How Public Art Gets Lost - and Saved - in Philly
How public art gets lost - and saved - in Philly JANUARY 8, 2016 by Samantha Melamed For fans of public art in Philadelphia, it still stings to think about that day in 1998 when word got out that an iconic wall sculpture by artist Ellsworth Kelly had been removed from the old Greyhound office building, quietly sold, and given to New York's Museum of Modern Art. It wasn't the first or last great work of public art to be lost to Philadelphia through some combination of intercity poaching, heedless development, and neglect. In fact, even as the Gallery mall closed for renovations Jan. 1, the fate of its public art remained unclear. The same goes for other works that have languished in storage, with limited money for preservation. Still, losing the work by Kelly, who died Dec. 27, wasn't entirely a bad thing, said Penny Balkin Bach, executive director of the Association for Public Art, a nonprofit that commissions, preserves, and promotes works in the city. "The removal of the Kelly was this sort of slap-in-the-face wake-up call that we needed as a city and as a cultural community to pay more attention to these kinds of things," she said. Her organization has become more proactive since, as have art fans. "Having the public's eyes and ears alert is probably our greatest protection." Now, scrap yards call her when they come across bronze sculptures they suspect have been stolen, and New York gallery owners tip her off when important works come up for sale. -
Operations RG.03
Operations RG.03 This finding aid was produced using ArchivesSpace on January 24, 2019. Describing Archives: A Content Standard The papers of the American Academy in Rome 7 East 60 Street New York, New York 10022 [email protected] URL: http://www.aarome.org Operations RG.03 Table of Contents Summary Information .................................................................................................................................... 3 Scope and Contents ........................................................................................................................................ 3 Arrangement ................................................................................................................................................... 3 Administrative Information ............................................................................................................................ 4 Collection Inventory ....................................................................................................................................... 4 - Page 2 - Operations RG.03 Summary Information Repository: The papers of the American Academy in Rome Title: Operations ID: RG.03 Date [inclusive]: 1895-2018 Physical Description: 209.45 Linear Feet Language of the English Material: ^ Return to Table of Contents Scope and Contents This Record Group is comprised of records that document the functions of the American Academy in Rome (AAR). Records in this group include administrative files that document the daily operations -
Reflections on the State Songs of Florida
Reflections on the State Songs of Florida DAVID Z. KUSHNER According to the Laws of the State of Florida (Regular Session, 1913), House Government Resolution No. 24 stated, under the date of 12 May 1913, That, Whereas, in view of the fact that many of the Public Schools of the State are now singing, as a part of their daily exercise, the song, “Florida, My Florida,” a song written in 1894 by Rev. Dr. C.V. Waugh, for many years an honored Professor of Languages in the old Florida Agricultural College in Lake City, and whereas, The said song has both metrical and patriotic merit of the kind calculated to inspire love for home and native State, therefore, be it Resolved, that this song, “Florida, My Florida,” be and the same is hereby declared by the Legislature of the State of Florida to be the “State Song,” to be sung to the tune of “Maryland, My Maryland,” and that it is recommended for use in the daily exercises of the public schools of the State of Florida, as well as at all public gatherings where singing forms a part of the program. The following is the song: FLORIDA, MY FLORIDA (State Patriotic Song for Schools, C.V. Waugh) Land of my birth, bright sunkissed land, Florida, My Florida, Laded by the Gulf and Ocean grand, Florida, My Florida, Of all the States in East or West, Unto my heart thou art the best; Here may I live, here may I rest, Florida, My Florida. In country, town, or hills and dells, Florida, My Florida, The rhythmic chimes of thy school bells Florida, My Florida, Will call thy children day by day To learn to walk the patriot’s way, Firmly to stand for thee for aye, Florida, My Florida. -
Yazoo No Swanee Yes Bananas and How!
Yazoo, No. Swanee, Yes. Bananas, and How! We begin our story in the 1950s at 328 Chauncey Street with two beloved “Honeymooners”, Brooklyn bus driver Ralph Kramden and his wife Alice. But the pair that truly captured the nation’s affection was Ralph and his pal, Ed Norton. Surely one of the most hilarious episodes ($99,000 Answer) was the “Name That Tune” parody that has Ralph memorizing song after song (as well as the composers and the year) and practicing countless melodies with Norton on the piano. Norton, however, throws his arms up in the air and plays a bar or two of “Swanee River” (aka “The Old Folks At Home”) right before each and every song (in order to warm up). This drives Ralph nuts. Ralph Kramden thinks he’s well prepared for the $99,000 Answer. When the big night finally comes and Ralph appears on the show, extremely confident that he has learned every song ever written, the first question he’s asked is to identify the composer of “Swanee River”. Ralph painfully asks, “Swanee River?” When the moderator has a few bars of the song played for him, Ralph goes, “That’s Swanee River?” He then stammers with a “humma-da-humma-da” and after a moment replies, “Ed Norton?” He totally overlooked the man known as the “father of American music” and the pre-eminent songwriter in the United States of the 19th century, Stephen Collins Foster. Stephen Collins Foster (July 4, 1826 – January 13, 1864), “Father of American Music” Incidentally, Ralph Kramden wasn’t the only Swanee stammerer. -
The Pennsylvania Academy of the Fine Arts
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS BROAD AND CHERRY 5T5. • PHILADELPHIA 153rd ANNUAL REPORT 1958 Cover: The Fish House Door by John F. Peto Collection Fund Purchase 1958 the One-Hundred and Fifty-third Annual Report of THE PENNSYLVANIA ACADEMY OF THE FINE ARTS FOR THE YEAR 1958 Presented to the Meeting of the Stockholders of the Academy on February 2, 1959 OFFICERS John F. Lewis, Jr. President, 1949-0ctober, 1958 Henry S. Drinker Vice-Pres., 1933-0ctober, 1958; President, October, 1958- C. Newbold Taylor . Treasurer Joseph T. Fraser, Jr. Director and Secretary BOARD OF DIRECTORS Mrs. Leonard T. Beale Arthur C. Kaufmann Howard C. Petersen Mrs. Richardson Dilworth* John F. Lewis, Jr. George B. Roberts Henry S. Drinker James P. Magill Raymond A. Speiser David Gwinn Fredric R. Mann* John Stewart George Harding* Sydney E. Martin C. Newbold Taylor Frank T. Howard Mrs. Herbert C. Morris Mrs. Elias Wolf* R. Sturgis Ingersoll George P. Orr** Sydney L. Wright * Ex-officio Alfred Zantzinger **Resigned Sept_ 1958 STANDING COMMITTEES COMM ITT EE ON COLL EC TI ONS AND EX HI BITIONS George B. Roberts, Chairman Mrs. Leonard T. Beale R. Sturgis Ingersoll Alfred Zantzinger CO MM ITTEE O N FIN AN CE C. Newbold Taylor Chairman James P. Magill John Stewart COMM ITTEE ON IN ST RU CTION James P. Magill, Chairman Mrs. Leonard T. Beale Mrs. Richardson Dilworth David Gwinn Mrs. Elias Wolf SOLICITOR Maurice B. Saul WOMEN'S COMMITTEE Mrs. Hart McMichael . Chairman to May, 1958 Mrs. Elias Wolf . Chairman, May, 1958- Mrs. George B. Roberts Corresponding Secretary-Treasurer Mrs. -
THE WORLD of LAFAYETTE SQUARE Sites Around the Square
THE WORLD OF LAFAYETTE SQUARE Lafayette Square is a seven-acre public park located directly north of the White House on H Street between 15th and 17th Streets, NW. The Square and the surrounding structures were designated a National Historic Landmark District in 1970. Originally planned as part of the pleasure grounds surrounding the Executive Mansion, the area was called "President's Park". The Square was separated from the White House grounds in 1804 when President Jefferson had Pennsylvania cut through. In 1824, the Square was officially named in honor of General Lafayette of France. A barren common, it was neglected for many years. A race course was laid out along its west side in 1797, and workmen's quarters were thrown up on it during the construction of the White House in the 1790s. A market occupied the site later and, during the War of 1812, soldiers were encamped there. Lafayette Park has been used as a zoo, a slave market, and for many political protests and celebrations. The surrounding neighborhood became the city's most fashionable 19th century residential address. Andrew Jackson Downing landscaped Lafayette Square in 1851 in the picturesque style. (www.nps.gov) Historian and novelist Henry Adams on Washington, D.C. 1868: “La Fayette Square was society . one found all one’s acquaintances as well as hotels, banks, markets, and national government. Beyond the Square the country began. No rich or fashionable stranger had yet discovered the town. No literary of scientific man, no artist, no gentleman without office or employment has ever lived there. -
Constitution Day 2002 Features a New James Madison Statue for Campus, Book and Speakers
Embracing Madison Constitution Day 2002 features a new James Madison statue for campus, book and speakers The spirit and character of James Madison was palpable on campus Sept. 17, as the JMU community marked Constitution Day with a symposium on the fourth president and two unveilings. The Cato Institute, a public policy research foundation in Washington, D.C., unveiled its book of essays, James Madison and the Future of Limited Government, with lectures by contributing writers John Samples and Tom G. Palmer. Essays from the collection were first presented at the Cato Institute's 2001 celebration of James Madison's 250th birthday. The institute chose to unveil the book at JMU because of the university's visible effort to celebrate and honor James Madison. The scholars' lectures were followed by a luncheon, panel discussion, book signing and lecture by JMU history professor Chris Arndt. During the day's second unveiling, SGA President Levar Stoney said, "I'm proud to be part of an institution that embraces education and community service. We do Mr. Madison's legacy a great justice today." On behalf of JMU students, Stoney thanked Bruce and Lois Forbes ('64), their son Jeff ('90, '92M) and their daughter-in-law, Stephanie ('92, '93M), who were on hand for the dedication of a bronze life-sized statue of James Madison that the family contributed to JMU. An active alumna, Lois Forbes serves on the university's Madison Day committee, JMU Foundation board of directors and the Duke Club. Stoney added, "I'm proud to be part of the only university in the nation named for James Madison because of the quality of our students from every generation. -
BODILY KNOWLEDGE in DANCE TRANSFERRED to the CREATION of SCULPTURE by Nazaré Feliciano a Dissertation Submitted to the Faculty
BODILY KNOWLEDGE IN DANCE TRANSFERRED TO THE CREATION OF SCULPTURE by Nazaré Feliciano A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts & Letters In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL May 2014 Copyright by Nazaré Feliciano 2014 ii ACKNOWLEDGMENTS This dissertation was possible because of the help and support of many others. I want to express gratitude to those who inspired me and who showed me the way. To begin, I want to express my gratitude to Mary Frank whose sculptures inspired me to write this dissertation and for her welcoming into her art studio. I wish to express sincere thanks to the members of my committee. To Dr. Brian McConnell, who believed in this project from the beginning and gave me guidance and encouragement to it’s completion. To Dr. Marcella Munson for her insights into the various dimensions of this topic. To Professor Clarence Brooks for his contagious energy and insights of the dance world. I also owe thanks to Professor Gvozden Kopani for his advice on focusing all course work assignments toward my dissertation. A special thank you to Dr. Richard Shusterman who kindly reviewed the discussion of somaesthetics in my dissertation. Deepest gratitude to my dissertation angels: To Frederick Krantz, who enthusiastically proofread and edited every chapter of this manuscript and made suggestions for better readability. To Maureen Riley who gave me support and organization guidance throughout the development of this work. Finally, I am deeply indebted to my family and friends without whose loving care and enthusiasm I wouldn’t be able to finish this project.