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University Microiilms, a XERQ\Company, Ann Arbor, Michigan
71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ............................................... -
Concert Programdownload Pdf(349
The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Stockhausen's Mantra For Two Pianos Eric Huebner and Steven Beck, pianos Sound and electronic interface design: Ryan MacEvoy McCullough Sound projection: Chris Jacobs and Ryan MacEvoy McCullough Saturday, October 14, 2017 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Mantra (1970) Karlheinz Stockhausen (1928 – 2007) Program Note by Katherine Chi To say it as simply as possible, Mantra, as it stands, is a miniature of the way a galaxy is composed. When I was composing the work, I had no accessory feelings or thoughts; I knew only that I had to fulfill the mantra. And it demanded itself, it just started blossoming. As it was being constructed through me, I somehow felt that it must be a very true picture of the way the cosmos is constructed, I’ve never worked on a piece before in which I was so sure that every note I was putting down was right. And this was due to the integral systemization - the combination of the scalar idea with the idea of deriving everything from the One. It shines very strongly. - Karlheinz Stockhausen Mantra is a seminal piece of the twentieth century, a pivotal work both in the context of Stockhausen’s compositional development and a tour de force contribution to the canon of music for two pianos. It was written in 1970 in two stages: the formal skeleton was conceived in Osaka, Japan (May 1 – June 20, 1970) and the remaining work was completed in Kürten, Germany (July 10 – August 18, 1970). -
Wuorinen Printable Program
The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Celebrating Charles Wuorinen at 80 featuring Ensemble SIGNAL Brad Lubman, conductor Tuesday, April 24, 2018 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Charles Wuorinen (b. 1938) iRidule Jacqueline Leclair, oboe soloist Spin 5 Olivia De Prato, violin soloist Intermission Megalith Eric Huebner, piano soloist PERSONNEL Ensemble Signal Brad Lubman, Music Director Paul Coleman, Sound Director Olivia De Prato, Violin Lauren Radnofsky, Cello Ken Thomson, Clarinet, Bass Clarinet Adrián Sandí, Clarinet, Bass Clarinet David Friend, Piano 1 Oliver Hagen, Piano 2 Karl Larson, Piano 3 Georgia Mills, Piano 4 Matt Evans, Vibraphone, Piano Carson Moody, Marimba 1 Bill Solomon, Marimba 2 Amy Garapic, Marimba 3 Brad Lubman, Marimba Sarah Brailey, Voice 1 Mellissa Hughes, Voice 2 Kirsten Sollek, Voice 4 Charles Wuorinen In 1970 Wuorinen became the youngest composer at that time to win the Pulitzer Prize (for the electronic work Time's Encomium). The Pulitzer and the MacArthur Fellowship are just two among many awards, fellowships and other honors to have come his way. Wuorinen has written more than 260 compositions to date. His most recent works include Sudden Changes for Michael Tilson Thomas and the San Francisco Symphony, Exsultet (Praeconium Paschale) for Francisco Núñez and the Young People's Chorus of New York, a String Trio for the Goeyvaerts String Trio, and a duo for viola and percussion, Xenolith, for Lois Martin and Michael Truesdell. The premiere of of his opera on Annie Proulx's Brokeback Mountain was was a major cultural event worldwide. -
1 MUHL M406 Topics in Music History 1850-Present, 2 Credits, MUHL
MUHL M406 Topics in Music History 1850-present, 2 credits, MUHL M815, 3 credits Topic: Three American Mavericks: Charles Ives, Ruth Crawford Seeger, and Aaron Copland Fall 2006 Instructor: Dr. Valerie Goertzen, Communications/Music 201 Phone 865-2207; email [email protected] Office hours: Mondays, 2-3 p.m., Tuesdays, 9:30 to10:30 a.m., or by appointment Class meeting time: Wednesdays, 4:30-6:20, Room CM 135. Bulletin description: A seminar-style study of a single topic concerning music from Wagner to the present, usually focusing on some aspect of western art music but including consideration of influences from nonwestern and popular musics. Course may be repeated for credit, as long as topic is different. Topic description: According to Aaron Copland, “contemporary music as an organized movement in the U.S.A. was born at the end of the First World War” (Our New Music, 1941). Copland (1900-90) and Ruth Crawford Seeger (1901-53) were among a group of Americans who strived to create independent and challenging approaches to composition in the 1920s. With the coming of the Great Depression in the 1930s and World War II, they transformed their work in accordance with the prevailing spirit of nationalism and populism. Copland composed his famous ballets and other accessible works drawing on materials of the Americas, and Seeger largely set aside composition in order to collect and preserve folk music and to devote her energies to music for children. The compositions of the staunch individualist Charles Ives (1874-1954) of the previous generation became known to a broad spectrum of musical America only beginning in the 1920s, and thus also formed a part of this emerging repertory of new music. -
Interview with Charles Wuorinen Международный Отдел
Международный отдел • International Division ISSN 1997-0854 (Print), 2587-6341 (Online) DOI: 10.17674/1997-0854.2019.4.046-056 Interview with Charles Wuorinen Dear readers of the journal “Problemy muzykal’noj nauki / Music Scholarship”! he editorial board of the journal with composer and performer Harvey T“Problemy muzykalnoj nauki / Music Solberger, he was one of the leaders of the Scholarship” is happy to concert series, the Group present an interview with the for Contemporary Music, famous American composer devoted to performance Charles Wuorinen. At the of works by contemporary present time Wuorinen is the composers. In the 1970s most well-known composer Wuorinen wrote an orchestral of twelve-tone music in the composition A Reliquary for USA. He was born in New Igor Stravinsky, in which he York City in 1938, studied incorporated the last musical at Columbia University in sketches of the great master. New York, and subsequently Wuorinen is the author of taught at many universities Charles Wuorinen. a book on serial music, and conservatories in the Photo by Nina Roberts titled Simple Composition, USA, including Columbia which he characterizes as a University, Manhattan School of Music (New manual for composers, meant to teach them York), Princeton University and Rutgers how to compose music, and not a music University (New Jersey), New England theory book analyzing already composed Conservatory (Massachussetts), etc. In 1970 works. Wuorinen’s music is well-known he was awarded the Pulitzer Prize for his in the USA and in the countries of Western electronic composition Time’s Encomium, Europe, where there are frequent premiere composed with the use of the RCA Synthesizer performances of his new compositions, at the Columbia-Princeton Electronic Music among which it becomes proper to name Center. -
Federica Marsico a Queer Approach to the Classical Myth of Phaedra in Music
Federica Marsico A Queer Approach to the Classical Myth of Phaedra in Music Kwartalnik Młodych Muzykologów UJ nr 34 (3), 7-28 2017 Federica Marsico UNIVERSITY OF PAVIA A Queer Approach to the Classical Myth of Phaedra in Music The Topic In the second half of the 20th century, the myth of Phaedra, according to which the wife of King Theseus of Athens desperately falls in love with her stepson Hippolytus, was set to music by three homosexual compos- ers in the following works: the dramatic cantata Phaedra for mezzo- soprano and small orchestra (1976) by Benjamin Britten (1913-1976) after a text by the American poet Robert Lowell, the opera Le Racine: pianobar pour Phèdre (1980) by Sylvano Bussotti (1931) after a libretto drafted by the Italian composer himself and consisting of a prologue, three acts, and an intermezzo, and, last but not least, the two-act con- cert opera Phaedra (2007) by Hans Werner Henze (1926-2012) after a libretto by the German poet Christian Lehnert.1 1 In the second half of the century, other musical adaptations of the myth were also composed, namely the one-act opera Phèdre by Marcel Mihalovici (1898–1986) after a text by Yvan Goll and consisting in a prologue and five scenes (1951), the chamber opera Syllabaire pour Phèdre by Maurice Ohana (1913–1992) after a text by Raphaël Cluzel (1968), and the monodrama Phaedra for mezzo-soprano and orchestra by George Rochberg (1918–2005) after a text by Gene Rosenfeld (1976). 7 Kwartalnik Młodych Muzykologów UJ, nr 34 (3/2017) This paper summarizes the results of a three-year research project (2013–2015)2 that has proved that the three above-mentioned homo- sexual composers wilfully chose a myth consistent with an incestu- ous—and thus censored—form of love in order to portray homoerotic desire, which the coeval heteronormative society of course labelled as deviant and hence condemned. -
2011 Tanglewood Season Listing All Programs and Artists Are Subject to Change
2011 Tanglewood Season Listing All programs and artists are subject to change. Saturday, June 25, at 7 p.m. Koussevitzky Music Shed Earth, Wind, and Fire Tuesday, June 28, 11 a.m. and 3 p.m. Theatre Wednesday, June 29, 11 a.m. and 3 p.m. Theatre String Quartet Marathon Two 2‐hour concerts each day Tuesday, June 28, 8 p.m. Ozawa Hall Wednesday, June 29, 8 p.m. Ozawa Hall Mark Morris Dance Group Tanglewood Music Center Fellows Mark Morris, choreographer Yo‐Yo Ma, cello Isaac Mizrahi, costume designer Phil Sandstrom and Michael Chybowski, lighting designers Frisson Stravinsky ‐ Symphonies of Wind Instruments New work (world premiere; BSO commission) Stravinsky ‐ Renard Falling Down Stairs J.S. Bach ‐ Suite No. 3 in C for solo cello, BWV 1009 Thursday, June 30, 8 p.m. Ozawa Hall James Taylor in Ozawa Hall James Taylor and guests In the more intimate setting of Tanglewood's Ozawa Hall, James Taylor offers the music that has made him one of the most beloved artists of our day. Friday, July 1, 8:30 p.m. Shed James Taylor and the Boston Pops Boston Pops James Taylor, soloist John Williams, conductor Tanglewood’s favorite singer joins “America's Orchestra,” the Boston Pops and John Williams for a remarkable collaboration. Saturday, July 2, 5:45 p.m. Shed A Prairie Home Companion at Tanglewood with Garrison Keillor Live broadcast Sunday, July 3, 7 p.m. Shed Monday, July 4, 7 p.m. Shed The Essential James Taylor James Taylor returns to Tanglewood with his extraordinary band of musicians for two spectacular performances. -
View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927
J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 74 The Collection of Jacob Lateiner Part VI ARNOLD SCHOENBERG 1874-1951 ALBAN BERG 1885-1935 ANTON WEBERN 1883-1945 6 Waterford Way, Syosset NY 11791 USA Telephone 561-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. International customers are asked to kindly remit in U.S. funds (drawn on a U.S. bank), by international money order, by electronic funds transfer (EFT) or automated clearing house (ACH) payment, inclusive of all bank charges. If remitting by EFT, please send payment to: TD Bank, N.A., Wilmington, DE ABA 0311-0126-6, SWIFT NRTHUS33, Account 4282381923 If remitting by ACH, please send payment to: TD Bank, 6340 Northern Boulevard, East Norwich, NY 11732 USA ABA 026013673, Account 4282381923 All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. Fine Items & Collections Purchased Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c. -
Pacific 231 (Symphonic Movement No
Pacific 231 (Symphonic Movement No. 1) Arthur Honegger (1892–1955) Written: 1923 Movements: One Style: Contemporary Duration: Six minutes As a young man trying to figure his way in the world of music, Miklós Rózsa (a Hollywood film composer) asked the French composer Arthur Honegger “How are we composers expected to make a living?” “Film music,” he said. “What?” I asked incredulously. I was unable to believe that Arthur Honegger, the composer of King David, Judith and other great symphonic frescos, of symphonic poems and chamber music, could write music for films. I was thinking of the musicals I had seen in Germany and of films like The Blue Angel, so I asked him if he meant foxtrots and popular songs. He laughed again. “Nothing like that,” he said, ‘I write serious music.’ As a young man, Honegger was part of a group of renegade composers in Paris grouped around the avant-garde poet Jean Cocteau called “Les Six.” Unlike, the other composers in “Les Six,” Honegger’s music is weightier and less flippant. In the 1920s, Honegger worked on three short orchestral pieces that he called Mouvements symphonique. In his autobiography, I am a Composer, he recounts his intent with the first: To tell the truth, In Pacific I was on the trail of a very abstract and quite ideal concept, by giving the impression of a mathematical acceleration of rhythm, while the movement itself slowed. It was only after he wrote the work that he gave it the title. “A rather romantic idea crossed my mind, and when the work was finished, I wrote the title, Pacific 231, which indicates a locomotive for heavy loads and high speed.” Given a title, people heard things that weren’t there. -
Musicianship IV Syllabus
University of Missouri-Kansas City Conservatory of Music and Dance CONS 242: Musicianship IV Spring 2015 Credit hours: 4.0 CRN: 17576 Instructor: Dr. David Thurmaier, Associate Professor of Music Theory Office: 302 Grant Hall Phone: 235-2898 Email: [email protected] Office Hours: M, T, W from 10-10:50 and by appointment Teaching Assistant: Taylor Carmona Office: 304 Grant Hall Email: [email protected] Catalog Description Continuation of CONS 241. Study of late-nineteenth century chromaticism and analytical and compositional methods of twentieth and twenty-first century music, including set theory and twelve-tone theory. Particular attention is given to the development of critical writing skills and the creation of stylistic compositions. Prerequisite: CONS 241 Meeting Time and Location Monday-Friday, 9-9:50 am, Grant Hall 122 Required Materials Kostka, Stefan and Roger Graybill. Anthology of Music for Analysis. Upper Saddle River, NJ: Pearson Prentice Hall, 2004. Laitz, Steven G., The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. 3rd Edition. New York: Oxford University Press, 2012. Roig-Francolí, Miguel. Understanding Post-Tonal Music (text and anthology). Boston: McGraw Hill, 2007. Notebook, music paper and pens/pencils In addition, you will be required to use the Finale notation program (or equivalent) for composition assignments. This is available for personal purchase at a substantial student discount http://www.finalemusic.com. I recommend against using such free programs as Notepad, as you are not able to take advantage of the many features of Finale. Continual failure to purchase and/or bring required books will result in deductions on homework or exams. -
Media Release
Media Release FOR IMMEDIATE RELEASE: August 13, 2015 Contact: Edward Wilensky (619) 232-7636 [email protected] Soprano Patricia Racette Returns to San Diego Opera “Diva on Detour” Program Features Famed Soprano Singing Cabaret and Jazz Standards Saturday, November 14, 2015 at 7 PM at the Balboa Theatre San Diego, CA – San Diego Opera is delighted to welcome back soprano Patricia Racette for her wildly-acclaimed “Diva on Detour” program which features the renowned singer performing cabaret and jazz standards by Stephen Sondheim, Cole Porter, George Gershwin, and Edith Piaf, among others, on Saturday, November 14, 2015 at 7 PM at the Balboa Theatre. Racette is well known to San Diego Opera audiences, making her Company debut in 1995 as Mimì in La bohème, and returning in 2001 as Love Simpson in Cold Sassy Tree (a role she created for the world premiere at Houston Grand Opera), in 2004 for the title role of Katya Kabanova, and in 2009 as Cio-Cio San in Madama Buttefly. She continues to appear regularly in the most acclaimed opera houses of the world, including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Houston Grand Opera, Washington National Opera, Los Angeles Opera, and Santa Fe Opera. Known as a great interpreter of Janáček and Puccini, she has gained particular notoriety for her portrayals of the title roles of Madama Butterfly, Tosca, Jenůfa, Katya Kabanova, and all three leading soprano roles in Il Trittico. Her varied repertory also encompasses the leading roles of Mimì and Musetta in La bohème, Nedda in Pagliacci, Elisabetta in Don Carlos, Leonora in Il trovatore, Alice in Falstaff, Marguerite in Faust, Mathilde in Guillaume Tell, Madame Lidoine in Dialogues of the Carmélites, Margherita in Boito’s Mefistofele, Ellen Orford in Peter Grimes, The Governess in The Turn of the Screw, and Tatyana in Eugene Onegin as well as the title roles of La traviata, Susannah, Luisa Miller, and Iphigénie en Tauride. -
Msm String Chamber Orchestra
Tuesday, April 20, 2021 | 12:15 PM Livestreamed from Neidorff-Karpati Hall MSM STRING CHAMBER ORCHESTRA George Manahan (BM ’73, MM ’76), Conductor PROGRAM ADOLPHOUS HAILSTORK Church Street Serenade (BM ’63, MM ’65, HonDMA ’19) (b. 1941) EDVARD GRIEG Holberg Suite, Op. 40 (1843–1907) Praeludium (Allegro vivace) Sarabande (Andante) Gavotte (Allegretto) Air (Andante religioso) Rigaudon (Allegro con brio) HEITOR VILLA-LOBOS Bachianas Brasileiras No. 1 (1887–1959) MSM STRING CHAMBER ORCHESTRA VIOLIN 1 VIOLA Tom Readett BASS YouJin Choi Ramon Carrero Mystic, Connecticut Dante Ascarrunz Seoul, South Korea Caracas, Venezuela Rei Otake Lafayette, Colorado Sophia Stoyanovich Sara Dudley Tokyo, Japan Jakob Messinetti Bainbridge Island, Washington New York, New York Sam Chung Lawrence, New York Young Ye Roh Seoul, South Korea Ridgewood, New Jersey CELLO Rachel Lin Noah Koh San Jose, California VIOLIN 2 Bayside, New York Nicco Mazziotto Da Huang Juedy Lee Melville, New York Beijing, China Seoul, South Korea Esther Kang Benjamin Hudak Seoul, Korea San Francisco, California ABOUT THE ARTISTS George Manahan, Conductor George Manahan is in his 11th season as Director of Orchestral Activities at Manhattan School of Music, as well as Music Director of the American Composers Orchestra and the Portland Opera. He served as Music Director of the New York City Opera for 14 seasons and was hailed for his leadership of the orchestra. He was also Music Director of the Richmond Symphony (VA) for 12 seasons. Recipient of Columbia University’s Ditson Conductor’s Award, Mr. Manahan was also honored by the American Society of Composers and Publishers (ASCAP) for his “career-long advocacy for American composers and the music of our time.” His Carnegie Hall performance of Samuel Barber’s Antony and Cleopatra was hailed by audiences and critics alike.