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EMILY DICKINSON's POETIC IMAGERY in 21ST-CENTURY SONGS by LORI LAITMAN, JAKE HEGGIE, and DARON HAGEN by Shin-Yeong Noh Submit
EMILY DICKINSON’S POETIC IMAGERY IN 21ST-CENTURY SONGS BY LORI LAITMAN, JAKE HEGGIE, AND DARON HAGEN by Shin-Yeong Noh Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2019 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Andrew Mead, Research Director ______________________________________ Patricia Stiles, Chair ______________________________________ Gary Arvin ______________________________________ Mary Ann Hart March 7, 2019 ii Copyright © 2019 Shin-Yeong Noh iii To My Husband, Youngbo, and My Son iv Acknowledgements This work would not have been possible without many people who aided and supported me. I am grateful to all of my committee members for their advice and guidance. I am especially indebted to my research director, Dr. Andrew Mead, who provided me with immeasurable wisdom and encouragement. His inspiration has given me huge confidence in my study. I owe my gratitude to my teacher, committee chair, Prof. Patricia Stiles, who has been very careful and supportive of my voice, career goals, health, and everything. Her instructions on the expressive performance have inspired me to consider the relationship between music and text, and my interest in song interpretation resulted in this study. I am thankful to the publishers for giving me permission to use the scores. Especially, I must thank Lori Laitman, who offered me her latest versions of the songs with a very neat and clear copy. She is always prompt and nice to me. -
Boston Symphony Orchestra Concert Programs, Season 59,1939-1940
SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 1492 FIFTY-NINTH SEASON, 1939-1940 CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 194O, BY BOSTON SYMPHONY ORCHESTRA, ltlt. The OFFICERS and TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Ernest B. Dane President Henry B. Sawyer .... Vice-President Ernest B. Dane Treasurer Henry B. Cabot M. A. De Wolfe Howe Ernest B. Dane Roger I. Lee Alvan T. Fuller Richard C. Paine Jerome D. Greene Henry B. Sawyer N. Penrose Hallowell Edward A. Taft Bentley W. Warren G. E. Judd, Manager C. W. Spalding, Assistant Manager [769] Old Colony Trust Company 17 COURT STREET, BOSTON Member of the Federal Deposit Insurance Corporation Investment and Management of Property Income Collection Tax Accounting Do you realize the small cost of having us shoulder these burdens for you? Conferences with our officers entail no obligation. AGENT * TRUSTEE * GUARDIAN * EXECUTOR ^Allied with The First National Bank of Boston [770] FIFTY-NINTH SEASON • NINETEEN HUNDRED THIRTY-NINE AND FORTY Seventeenth Programme FRIDAY AFTERNOON, March i, at 2:30 o'clock SATURDAY EVENING, March 2, at 8:15 o'clock Mahler Symphony No. 5 in C-sharp minor Part 1 (1) Trauermarsch (2) Sturmisch bewegt Part II (3) Scherzo Part III (4) Adagietto (5) Rondo Finale intermission Szymanowski Symphonie Concertante for Piano and Orchestra, Op. 60 I. Moderato II. Andante molto sostenuto III. Allegro non troppo (First performances in Boston) SOLOIST JAN SMETERLIN steinway piano This programme will end about 4:20 on Friday Afternoon. -
'The Performing Pitch of William Byrd's Latin Liturgical Polyphony: a Guide
The Performing Pitch of William Byrd’s Latin Liturgical Polyphony: A Guide for Historically Minded Interpreters Andrew Johnstone REA: A Journal of Religion, Education and the Arts, Issue 10, 'Sacred Music', 2016 The choosing of a suitable performing pitch is a task that faces all interpreters of sixteenth- century vocal polyphony. As any choral director with the relevant experience will know, decisions about pitch are inseparable from decisions about programming, since some degree of transposition—be it effected on the printed page or by the mental agility of the singers—is almost invariably required to bring the conventions of Renaissance vocal scoring into alignment with the parameters of the more modern SATB ensemble. To be sure, the problem will always admit the purely pragmatic solution of adopting the pitch that best suits the available voices. Such a solution cannot of itself be to the detriment of a compelling, musicianly interpretation, and precedent for it may be cited in historic accounts of choosing a pitch according to the capabilities of the available bass voices (Ganassi 1542, chapter 11) and transposing polyphony so as to align the tenor part with the octave in which chorale melodies were customarily sung (Burmeister 1606, chapter 8). At the same time, transpositions oriented to the comfort zone of present-day choirs will almost certainly result in sonorities differing appreciably from those the composer had in mind. It is therefore to those interested in this aspect of the composer’s intentions, as well as to those curious about the why and the wherefore of Renaissance notation, that the following observations are offered. -
557981 Bk Szymanowski EU
570723 bk Szymanowski EU:570723 bk Szymanowski EU 12/15/08 5:13 PM Page 16 Karol Also available: SZYMANOWSKI Harnasie (Ballet-Pantomime) Mandragora • Prince Potemkin, Incidental Music to Act V Ochman • Pinderak • Marciniec Warsaw Philharmonic Orchestra and Choir • Antoni Wit 8.557981 8.570721 8.570723 16 570723 bk Szymanowski EU:570723 bk Szymanowski EU 12/15/08 5:13 PM Page 2 Karol SZYMANOWSKI Also available: (1882-1937) Harnasie, Op. 55 35:47 Text: Karol Szymanowski (1882-1937) and Jerzy Mieczysław Rytard (1899-1970) Obraz I: Na hali (Tableau I: In the mountain pasture) 1 No. 1: Redyk (Driving the sheep) 5:09 2 No. 2: Scena mimiczna (zaloty) (Mimed Scene (Courtship)) 2:15 3 No. 3: Marsz zbójnicki (The Tatra Robbers’ March)* 1:43 4 No. 4: Scena mimiczna (Harna i Dziewczyna) (Mimed Scene (The Harna and the Girl))† 3:43 5 No. 5: Taniec zbójnicki – Finał (The Tatra Robbers’ Dance – Finale)† 4:42 Obraz II: W karczmie (Tableau II: In the inn) 6 No. 6a: Wesele (The Wedding) 2:36 7 No. 6b: Cepiny (Entry of the Bride) 1:56 8 No. 6c: Pie siuhajów (Drinking Song) 1:19 9 No. 7: Taniec góralski (The Tatra Highlanders’ Dance)* 4:20 0 No. 8: Napad harnasiów – Taniec (Raid of the Harnasie – Dance) 5:25 ! No. 9: Epilog (Epilogue)*† 2:39 Mandragora, Op. 43 27:04 8.557748 Text: Ryszard Bolesławski (1889-1937) and Leon Schiller (1887-1954) @ Scene 1**†† 10:38 # Scene 2†† 6:16 $ Scene 3** 10:10 % Knia Patiomkin (Prince Potemkin), Incidental Music to Act V, Op. -
1 Elżbieta Jasińska-Jędrosz LOSY SPUŚCIZNY KAROLA
Elżbieta Jasińska-Jędrosz LOSY SPUŚCIZNY KAROLA SZYMANOWSKIEGO Karol Szymanowski, najwybitniejszy polski kompozytor I połowy XX wieku, urodził się w roku 1982 w Tymoszówce, zmarł w roku 1937 w Lozannie. Jest on autorem 4 symfonii, 2 koncertów skrzypcowych, 2 oper ( Hagith, Król Roger), baletu Harnasie, utworów wokalno-instrumentalnych (w tym wybitnego dzieła religijnego Stabat Mater) oraz licznych utworów fortepianowych, skrzypcowych i pieśni. Szymanowski to także pedagog i wychowawca muzyczny, reformator Konserwatorium Warszawskiego i rektor pierwszej Akademii Muzycznej w kraju oraz wykonawca własnych utworów. Ponadto pisarz, poeta i myśliciel o wszechstronnym umyśle, erudyta, roztrząsający najbardziej zawiłe kwestie z różnych dziedzin życia. Wreszcie człowiek o niezwykłej osobowości, pełen osobistego uroku i ciepła, który wywierał niezatarte wrażenie na wszystkich, którzy się z nim zetknęli. Za wybitne zasługi dla kultury polskiej otrzymał zaszczytny tytuł doctora honoris causa Uniwersytetu Jagiellońskiego. W wyniku podniesienia tego co narodowe do wartości europejskich i ogólnoludzkich zdobył trwałe miejsce w historii kultury muzycznej Europy i świata. Honorowy członek wielu stowarzyszeń twórczych i naukowych m. in. Międzynarodowego Stowarzyszenia Muzyki Współczesnej. *** Karol Szymanowski zmarł na dwa lata przed wybuchem II wojny światowej. Spuścizna jego była dwukrotnie zagrożona - najpierw podczas I wojny światowej i rewolucji bolszewickiej, kiedy to rodzina Szymanowskich zmuszona była opuścić swój majątek w Tymoszówce, a następnie w czasie II wojny światowej. Omawiając losy spuścizny Szymanowskiego trzeba zdać sobie sprawę, że większa część życia kompozytora upłynęła na terenie obecnej Ukrainy – najpierw z rodzinnej Tymoszówce, a następnie w Elizawetgradzie. Tymoszowiecki dwór – pełen zabytkowych mebli, cennych książek i pamiątek narodowych - o którym tak pięknie pisze Zofia Szymanowska w książce „Opowieść o naszym domu”1 – po rewolucji został utracony. -
Short Operas for Educational Settings: a Production Guide
SHORT OPERAS FOR EDUCATIONAL SETTINGS A PRODUCTION GUIDE by Jacquelyn Mouritsen Abbott Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee Patricia Stiles, Research Director and Chair Gary Arvin Jane Dutton Dale McFadden 10 April 2020 ii Copyright ⃝c 2020 Jacquelyn Mouritsen Abbott iii To my dearest love, Marc – my duet partner in life and in song iv Acknowledgements I am deeply grateful to my research director Patricia Stiles, for her devoted teaching, help, care, and guidance. I have learned so much from you throughout the years and am profoundly grateful for your kindness and your mentorship. I am deeply indebted to Dale McFadden, Gary Arvin, and Jane Dutton—it was a great honor to have you on my committee. I offer sincerest thanks to all of the composers and librettists who sent me scores, librettos, or recordings and who answered my questions and allowed me to use musical examples from their works. These exceptional artists include Dan Shore, Michael Ching, Leanna Kirchoff, Harry Dunstan, Kay Krekow, Milton Granger, Thomas Albert, Bruce Trinkley, John Morrison, Evan Mack, Errollyn Wallen, and Paul Salerni. I also owe a special thank you to ECS publishing for allowing me to use musical examples from Robert Ward’s Roman Fever. Thanks to Pauline Viardot, Jacques Offenbach, and Umberto Giordano for inspiring the musical world for the past 150-plus years. -
Chapter, District, Region, and National Student Auditions
Chapter, District, Region, and National Student Auditions The National Student Auditions begin at the regional level and progress to the national preliminary round, semifinal round and final round. Regional auditions should offer all of the categories contained in the “Category, Repertoire, Age, and Time Requirements” section of this document. In order to ensure across the board fairness and appropriate rigor to the National Student Auditions, Regions may only advance singers to NSA categories from a regional audition. Exceptions to this regulation must be approved by the NSA Coordinator, VP of Auditions, and NATS Executive Office staff. Winners of Chapter or District auditions may not be automatically advanced to the National Student Auditions. Conference Year Only – Hall Johnson Spiritual Category Due to the generosity of the Hall Johnson Estate, a $2000 award will be given in each national conference year (even-numbered years) to the best performance of a Hall Johnson Spiritual for the conferences from 2016--2036. All interested performers will apply for this category as part of regional student auditions with the top five regional singers advancing to the NSA rounds, as with all other categories. Chapters are also eligible and encouraged to add this competition to chapter auditions. Where applicable, Chapter auditions serve as qualifying rounds for advancement into region auditions. Complete information including a catalog of works and links to publications related to this special category is available at www.nats.org Category Length of Study Age limit Time Repertoire Hall Johnson Undergraduate age 17-23 10-12 Three contrasting selections from Hall Johnson minutes spiritual repertoire. -
Boston Symphony Orchestra Concert Programs, Season 54,1934-1935, Trip
Carnegie i>all • Heto gorfe Thursday Evening, January 3, at 8:45 Saturday Afternoon, January 5, at 2:30 Boston Symphony Orchestra [Fifty-fourth Season, 1934-1935] Dr. SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. LAUGA, N. SAUVLET, H:. RESNIKOFF, V. Concert-master GUNDERSEN, R. KASSMAN, N. CHERKASSKY, P. EISLER, D. THEODOROWICZ, J- HANSEN, E. MARIOTTI, V. FEDOROVSKY, P. TAPLEY, R. LEIBOVICI, J. PIN FIELD, C. LEVEEN, P. KRIPS, A. KNUDSON, C. ZUNG, M. BEALE, M. GORODETZKY, L. MAYER, P. DIAMOND, S. DEL SORDO, R. FIEDLER, B. BRYANT, M. STONESTREET, L. MESSINA, S. ZIDE, L. MURRAY, J. ERKELENS, H. seiniger, s. Violas LEFRANC, J. FOUREL, G. BERNARD, A. CROVER, H. ARTIERES, L. CAUHAPE, J. VAN WYNBERGEN, C. WERNER, H. AVIERINO, N. DEANE, C. HUMPHREY, G. GERHARDT, S. JACOB, R. Violoncellos FABRIZIO, E. BEDETTI, J. LANGENDOEN, J. CHARDON, Y. STOCKBRIDGE , C ZIGHERA, A. BARTH, C. DROEGHMANS, H. WARNKE, J. MARJOLLET, L. ZIMBLER, J. Basses GIRARD, H. KUNZE, M. LEMAIRE, J. ludwtg, 0. VONDRAK, A. MOLEUX, G. frankel, 1. DUFRESNE, G. JUHT, L. Flutes Oboes Clarinets Bassoons LAURENT, G. GILLET, F. polatschek, v. la US, A. r. BLADET, G. DEVERGIE, J. VALERIO, M. ALLARD, AMERENA, P. STANISLAUS, H. MAZZEO, R. El? Clarinet PANENKA, E. Piccolo English Horn Bass Clarinet Contra-Bassoon battles, a. SPEYER, L. MIMART, P. PILLER, B. Horns Horns Trumpets Trombones boettcher, g. VALKENIER, W mager, g. raiciiman, J. MACDONALD, W. LANNOYE, M. LAFOSSE, M. HANSOTTE, L. GRUNDEY, t. LILLEBACK, VALKENIER, w. SINGER, J. W. gebhardt, w. LORBEER, H. VOISIN, R. MANN, J. Tuba Harps Timpani Percussion ADAM, E. -
Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events. -
UNIVERSITY of CALIFORNIA Los Angeles An
UNIVERSITY OF CALIFORNIA Los Angeles An Introductions to the Art of Singing Italian Baroque Opera: A Brief History and Practice A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts in Music by Gloria Chu Young Chung-Ahn 2015 ABSTRACT OF THE DISSERTATION An Introductions to the Art of Singing Italian Baroque Opera: A Brief History and Practice by Gloria Chu Young Chung-Ahn Doctor of Musical Arts in Music University of California, Los Angeles, 2015 Professor Michael E. Dean, Chair At the start of this dissertation, my original intention was to offer insight into performance practices of opera in the late baroque period in the form of a guide to young singers. As I delved into this subject matter, I began to realize how much this subject could not be understood until the singer had an understanding of the beginnings of baroque music pertaining to its considerable historical significance in the development of opera as well as its overall perceived styles. The term baroque, in itself, has caused much confusion for those in academia ii and more so to students who endeavor to recreate an authentic baroque sound and performance. Upon evaluating my own understanding of baroque music and its reaches into the operatic art form, I decided to include in this dissertation an abridged history of the baroque period such as terms and ideas that every young musician should be familiar with, as well as contributions to baroque opera of famous composers and singers, whose names became synonymous with the term Baroque. -
Analyzing Gender Inequality in Contemporary Opera
ANALYZING GENDER INEQUALITY IN CONTEMPORARY OPERA Hillary LaBonte A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: Jane Schoonmaker Rodgers, Advisor Kristen Rudisill Graduate Faculty Representative Kevin Bylsma Ryan Ebright Emily Pence Brown © 2019 Hillary LaBonte All Rights Reserved iii ABSTRACT Jane Schoonmaker Rodgers, Advisor Gender inequality is pervasive in the world of performing arts. There are far more female dancers, actresses, and singers than there are male performers. This inequality is amplified by fewer numbers of roles for women. This document examines gender inequality in contemporary North American operas, including the various factors that can influence the gender balance of a cast, with focused studies on commissioning organizations and ten works that feature predominantly female casts. Chapter 1 presents the analysis of all operas in OPERA America’s North American Works database written and premiered from 1995 to the present. Of the 4,216 roles in this data, 1,842 (43.6%) are for female singers. Operas written by a female composer or librettist have 48% roles for female singers, operas with a female lead character have 51%, and intentionally feminist or female-focused operas have 53% roles for female singers. Chapter 2 considers ten companies devoted to the creation and production of contemporary opera in North America. Works premiered by these companies have an average of 47% roles for women, and companies with a female executive or founder are more likely to have a higher average. Companies that use language like “innovative” or “adventurous” in their mission statement are more likely to have greater female representation in the casts of their commissioned works. -
The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato Author(S): Roger Freitas Freitas Source: the Journal of Musicology, Vol
The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato Author(s): Roger Freitas Freitas Source: The Journal of Musicology, Vol. 20, No. 2 (Spring 2003), pp. 196-249 Published by: University of California Press Stable URL: https://www.jstor.org/stable/10.1525/jm.2003.20.2.196 Accessed: 03-10-2018 15:00 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology This content downloaded from 146.57.3.25 on Wed, 03 Oct 2018 15:00:19 UTC All use subject to https://about.jstor.org/terms The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato ROGER FREITAS A nyone who has taught a survey of baroque music knows the special challenge of explaining the castrato singer. A presentation on the finer points of Monteverdi’s or Handel’s art can rapidly narrow to an explanation of the castrato tradition, a justification 196 for substituting women or countertenors, and a general plea for the dramatic viability of baroque opera. As much as one tries to rationalize the historical practice, a treble Nero or Julius Caesar can still derail ap- preciation of the music drama.