Caml Review Revue De L'acbm

Total Page:16

File Type:pdf, Size:1020Kb

Caml Review Revue De L'acbm Page CAML REVIEW REVUE DE L’ACBM v. 38 no. 2 August / août 2010 Articles and Reports / Articles et rapports: President’s Report / Message de la présidente 3 Kirsten Walsh Minutes of the CAML/ACBM Annual General 6 Meeting, 2009 IAML 2010 - National Report: Canada 11 Kirsten Walsh CAML Conference 2010 - Abstracts / Congrès de 12 l'ACBM 2010 - Résumés de communications Rencontre annuelle de la Section québécoise de 20 l’ACBM 2010 / 2010 Annual Meeting of the Quebec Chapter of CAML A Librarian’s Reflections on the Emerging 21 Bibliography of Film Music Desmond Maley Reviews / Comptes rendus: 3 Concerti (CD) / Edward Jurkowski 33 To Music: Canadian Song Cycles (CD) / Jane Leibel 35 Piano Atlantica (CD) / J. Drew Stephen 37 CAML Review, published three times a year, is the official organ of the Canadian Association of Music Libraries, Archives and Documentation Centres. CAML Review is indexed in The Music Index and the Canadian Music Periodical Index. Revue de l’ACBM, publiée trois fois l’an, est l’organe officiel de l’Association canadienne des bibliothèques, archives et centres de documentation musicaux. La Revue de l’ACBM est indexée dans Music Index et L’Index des périodiques de musique canadiens. Editor / Éditrice : Cathy Martin, Marvin Duchow Music Library, McGill University, Montreal, Quebec, H3A 1E3. Tel: 514-398-5874; Email: [email protected] Associate Editor / Éditrice adjointe : Cheryl Martin, Library Information Resources Management, Western Libraries, The University of Western Ontario, London, Ontario, N6A 3K7. Tel: 519-661-2111 x88081; Email: [email protected] Review Editor / Éditeur des comptes-rendus : Desmond Maley, J.N. Desmarais Library, Laurentian University, 935 Ramsey Lake Rd., Sudbury, Ontario, P3E 2C6. Tel: 705-675-1151 x3323; E-mail: [email protected] The editors invite submissions in the form of articles, reviews, reports, and news items. Deadline for the next issue: October 15, 2010 / Vous êtes invités à soumettre des articles, comptes rendus et informations à la Revue. Date limite du prochain numéro: le 15 octobre 2010 Membership Secretary / Secrétaire d’adhésions : Kyla Jemison, The Banff Centre Library, Box 1020 Stn 43, Banff, Alberta, T1L 1H5. Tel: 403-762-6221; Email: [email protected]. Claims are filled for six months following publication. Send all claims to the Membership Secretary. / Les réclamations de numéros manquants sont acceptées durant une période de six mois suivant la date de publication. Veuillez faire parvenir toute réclamation à la secrétaire aux adhésions. Advertising / Publicité : Please contact the Editors. / Communiquez avec les éditrices. © 2010 Canadian Association of Music Libraries, Archives and Documentation Centres / Association canadienne des bibliothèques, archives et centres de documentation musicaux, ISSN 1496-9963. CAML website / Site web de l'ACBM : www.yorku.ca/caml/ Section québécoise de l'ACBM / Quebec Chapter of CAML: www.sqacbm.org/ President’s Report / Message de la présidente It was good to see so many of you at Ce fut bien agréable de rencontrer un our recent conference in Regina, and I bon nombre d’entre vous lors de notre hope that you enjoyed the meeting. dernier congrès à Regina, et j’espère que The joint program of CAML and vous l’avez aimé. Le programme CUMS (Canadian University Music combiné de l’ACBM et de la Société de Society) offered stimulating sessions musique des universités canadiennes on many topics, and included a (SMUC) a offert des présentations number of concerts. Some of the stimulantes sur plusieurs sujets et inclus twenty-seven CAML attendees also quelques concerts. Parmi les 27 found time to attend sessions of the participants de l’ACBM, certains ont other two societies who were meeting trouvé le temps d’assister aux conjointly, the Canadian Society for présentations des deux autres sociétés Musical Traditions and the Canadian qui tenaient un congrès mixte, la Société branch of the International canadienne pour les traditions musicales Association for the Study of Popular et la section canadienne de l’Association Music. internationale pour l’étude de la musique populaire. A big thank-you must go to the friendly and welcoming folks at the Des remerciements sincères s’adressent University of Regina, especially Bill aux personnes si amicales et Sgrazzutti, who handled our local accueillantes de l’Université de Regina, arrangements and worked with his particulièrement à Bill Sgrazzutti, CUMS colleagues to ensure that président du comité de logistique, qui a everything ran smoothly. They also travaillé avec les membres de la SMUC organized several excellent receptions afin de s’assurer que tout marche and our closing banquet. The rondement. Ces personnes ont aussi delicious buffet was served in the organisé quelques réceptions elegant Hotel Saskatchewan, a CPR exceptionnelles et notre banquet de hotel which opened in 1927. clôture. Notre délicieux buffet a été servi dans le chic Hotel Saskatchewan Thanks also to Jan Guise and the construit par le Canadien Pacifique en Program Committee for organizing a 1927. great program, and to the session chairs and presenters. The abstracts Des remerciements s’adressent are included in this issue. One of the également à Jan Guise et au comité de highlights was the Keynote session programmation pour avoir organisé un “Great Debate 2010,” where four très bon programme, aux présidents de plucky debaters argued the pros and séance et aux communicateurs. Vous cons of the question: “Be it trouverez dans le présent numéro les resolved…music librarians don’t résumés de communications. Un des need music degrees.” Speaking in the faits saillants a été la séance plénière II affirmative, Brian McMillan and intitulée « Grand débat 2010 », où Kenneth Delong did their eloquent quatre courageux participants ont 3 best to convince the audience, while débattu le pour et le contre de la Lisa Rae Philpott and Barbara Reul question suivante : « Qu’il soit résolu argued passionately against the que… les bibliothécaires de musique resolution. It was both entertaining n’ont pas besoin de diplômes en and thought-provoking, and the musique ». Ceux qui étaient en faveur de affirmative team did sway some cette résolution, Brian McMillan et votes, but in the end, the majority of Kenneth Delong, ont tenté de convaincre the audience vote remained negative. l’assistance avec éloquence, tandis que Lisa Rae Philpott et Barbara Reul ont The results of our spring election débattu avec passion contre la were announced at the Annual résolution. Ce fut à la fois divertissant et General Meeting. Jan Guise was inspirant, et l’équipe du pour a obtenu acclaimed as Vice-President/ bon nombre de votes, mais à la fin, la President-Elect, and Laura Snyder majorité de l’assistance a appuyé was acclaimed for her second term as l’équipe du contre. Secretary. Kyla Jemison was appointed Membership Secretary, and Les résultats de notre élection du Stacy Allison-Cassin joined the printemps ont été annoncés à Board as Communications Officer. l’assemblée générale annuelle. Jan Guise Peter Higham completed his four- a été nommée présidente désignée et le year term as Vice-President/ mandat de Laura Snyder a été renouvelé President-Elect, President and Past au poste de secrétaire. Kyla Jemison a President. I would like to thank Peter été nommée secrétaire aux adhésions et for his dedication and contributions to Stacy Allison-Cassin a joint les rangs du CAML, and for his support during conseil d’administration à titre de my first year as President. Our first directrice des communications. Peter Audit Committee, consisting of Brian Higham a terminé son mandat de quatre McMillan and Lucinda Walls, ans à titre de président désigné, reported on their review of the président et président sortant. Je tiens à accounts. Their work enables us to remercier Peter pour son dévouement et save paying the considerable cost of son apport à l’ACBM et pour son appui an audit, and we thank them for their au cours de ma première année à titre de efforts. présidente. Notre premier comité de vérification, composé de Brian Cathy Martin makes her debut as McMillan et Lucinda Walls, a fait Editor of CAML Review with this rapport de sa révision des comptes. Le issue. Cheryl Martin deserves a travail du comité nous permet special thanks for her many years of d’économiser les frais considérables dedicated work as Editor, and for d’une vérification, et nous remercions providing ongoing support to Cathy les membres du comité pour leurs efforts as Associate Editor. déployés. Lisa Emberson has handed the Avec le présent numéro, Cathy Martin responsibility for RILM Canada over fait ses débuts à titre d’éditrice de la to Gilles Leclerc, and has been Revue de l’ACBM. Cheryl Martin mérite training him to co-ordinate the des remerciements bien particuliers pour 4 submission of abstracts to RILM. ses nombreuses années de dévouement à Gilles joined the Music Division of titre d’éditrice et pour son appui Library & Archives Canada last year. constant à Cathy comme éditrice Thank you, Lisa, for your many years adjointe. of dedicated work on our behalf. Lisa Emberson a transmis ses Next year’s conference will again be responsabilités de la section canadienne held jointly with CUMS, and will du Répertoire international de littérature take place at Mount Allison musicale (RILM), section Canada, à University in Sackville, New Gilles Leclerc et l’a formé pour Brunswick from June 2–5, 2011. coordonner les propositions de résumés Peter Higham has kindly offered to de communications au RILM. Gilles host us, and Suzanne Meyers Sawa s’est joint à la Division de la musique de will chair the Program Committee. Bibliothèque et Archives Canada l’an Mark your calendars, and I hope you dernier. En notre nom, merci, Lisa, pour will be able to attend. tes nombreuses années de dévouement. L’an prochain, un congrès mixte se tiendra à nouveau avec la SMUC, et Kirsten Walsh cette fois-ci il se déroulera à l’Université University of British Columbia Mount Allison à Sackville, au Nouveau- [email protected] Brunswick, du 2 au 5 juin 2011.
Recommended publications
  • ACWC Spring 2021 Journal Is Here!
    Spring 2021 Journal eJournal ACWC/ACC Spring 2021 Table of Contents 3 Notes from the Chair Carol Ann Weaver 8 From the Editor Fiona Evison 9 40th Anniversary of ACWC / ACC Diane Berry 12 The ACWC/ACC 20th Anniversary: Then, Now, and Beyond... A Festival of Music by Women Janet Danielson 17 Spotlight on Our Archives Elma Miller 25 Pioneering Compositrices of Canada Elaine Keillor 31 Anniversary Interview: Brenda Muller: Canadian Challenges for Women Com- posers, and the History of the Ardeleana Trio Patricia Morehead 40 Anniversary Interview: Sylvia Rickard: My Composing Life and Memories of Jean Coulthard / Entrevue: Sylvia Rickard Patricia Morehead 48 Panel Reports: Soundscapes and More / Muses Too Carol Ann Weaver 50 New Member Profiles 52 Member Opportunities and News All writers in the Journal are ACWC members, unless otherwise indicated. 2 eJournal ACWC/ACC Spring 2021 Notes from the Chair In Celebration as ACWC/ACC Turns 40: Finding Our “Necessary” Voices Carol Ann Weaver An anniversary 40 years in the making – reason enough to celebrate! In 1981 when Carolyn Lomax met with Ann Southam, Mary Gardiner, and others to form what was to become ACWC, little did she and the other Toronto-based composers know that their work would expand to become an association of over 100 members spread across Canada from Vancouver Island to Newfoundland, and from the Northwest Territories to the US and Europe, incorporating musical forms from soundscape to jazz improvisation, song to symphony, largely centred on innovative Western classical styles – music necessary to compose. In the early 80’s when ACWC1 boasted a membership of some 15 – 35 members, few questioned its predominantly European-rooted membership.
    [Show full text]
  • Orchestral Music of the Canadian Centennial
    ! ! ORCHESTRAL MUSIC OF THE! CANADIAN CENTENNIAL ! ! ! ! ! ! Isaac !Page ! ! ! ! ! ! ! ! Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF! MUSIC May 2020 ! Committee: Emily Freeman Brown, Advisor Per Broman ! !ii ! ABSTRACT ! Emily Freeman Brown, Advisor ! In 1967, Canada celebrated its centennial anniversary of confederation. Celebrations were marked with many significant events in the decade leading up to the centennial, notably the adoption of a new Canadian flag, the construction of many cultural landmarks across the country, and Expo 67 in Montreal. In addition to these major cultural celebrations, there was a noticeable push to create and promote Canadian art. Approximately 130 compositions were written for the centennial year, with many commissions coming from Centennial Commission grants as well as the Canadian Broadcasting Corporation (CBC). Of those works, 51 were orchestral compositions that were intended to be performed by orchestras across the country. These works form an important collection that is ripe for study into compositional trends of the time. I believe that composers, writing for such a significant cultural event in Canada, attempted, consciously or not, to codify a Canadian musical identity. I will look into whether shared compositional traits could be considered signifiers of a general Canadian style by looking at previous scholarship on Canadian identity and how it can relate to music. Specific works will be analyzed by Applebaum, Eckhardt-Gramatté, Freedman, Glick, Hétu, Morel, Surdin, and Weinzweig. !iii ! ACKNOWLEDGMENTS ! Thank you to my parents, Carolyn Ricketts and Steven Page. I am very aware that I would likely not be where I am, and able to write a document like this, if both of my parents had not been musicians and had not continued to encourage me through my education.
    [Show full text]
  • The Contribution of Twentieth-Century Canadian Composers to The
    THE CONTRIBUTION OF TWENTIETH-CENTURY CANADIAN COMPOSERS TO THE SOLO PEDAL HARP REPERTOIRE, WITH ANALYSIS OF SELECTED WORKS A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY GRACE BAUSON APPROVED BY: ____________________________________________ _____________ Ms. Elizabeth Richter, Committee Co-Chairperson Date ___________________________________________ _____________ Dr. Keith Kothman, Committee Co-Chairperson Date ______________________________________________ _____________ Dr. James Helton, Committee Member Date ______________________________________________ _____________ Dr. Michael Oravitz, Committee Member Date ______________________________________________ _____________ Dr. Debra Siela, Committee Member Date ______________________________________________ _____________ Robert Morris, Dean of Graduate School Date BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2012 Copyright © 2012 by Grace Bauson All rights reserved THE CONTRIBUTION OF TWENTIETH-CENTURY CANADIAN COMPOSERS TO THE SOLO PEDAL HARP REPERTOIRE, WITH ANALYSIS OF SELECTED WORKS A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY GRACE BAUSON ADVISOR – MS. ELIZABETH RICHTER BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2012 ii ABSTRACT DISSERTATION: The Contribution of Twentieth-Century Canadian Composers to the Solo Pedal Harp Repertoire, with Analysis of Selected Works STUDENT: Grace Bauson DEGREE: Doctor of Arts COLLEGE: Fine Arts DATE: May 2012 PAGES: 158 The purpose of this dissertation was to research harp solos written by Canadian composers in the twentieth century and to determine factors that could have contributed to the rise in output of harp literature in Canada during that period. In addition to research of existing writings, interviews with two performers, Erica Goodman and Judy Loman, and two composers, Marjan Mozetich and R. Murray Schafer, were conducted.
    [Show full text]
  • Analysis of John Weinzweig's Private
    SUSPICIOUSLY SIGNIFICANT NONSENSE: A (QUEER) ANALYSIS OF JOHN WEINZWEIG’S PRIVATE COLLECTION THROUGH LIP-SYNCED PERFORMANCE ANTHONY LOMAX A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO OCTOBER 2018 © ANTHONY LOMAX, 2018 ii Abstract This thesis presents two different analyses of John Weinzweig’s Private Collection, a group of nine songs for soprano and piano that was completed in 1975. The first analysis is text- based and draws on the existing literature, my own reading of the score, and archival research. The second is a performance-based analysis focused on a lip-synced performance of Mary Lou Fallis and Monica Gaylord’s recording of the composition, which I personally directed. I also draw upon data collected from audience surveys and performer interviews in this analysis. Here I consider various layers of performativity in Private Collection and ground my work in performance studies and queer scholarship. I argue that lip-syncing is a queer methodology that can illuminate the fragmented and multiple meanings that emerge from recorded music. iii Dedication For Andrew, my husband and friend, the only person alive for whom I would sing “Man, I Feel Like a Woman” in a leopard-print jumpsuit. iv Acknowledgements I would like to thank my supervisory committee of Louise Wrazen, Sherry Johnson, and Magdalena Kazubowski-Houston, who gave me space to create a truly unusual thesis project; Stephanie Martin and Darcey Callison, members of my defense committee; Daniel Weinzweig, who gave me permission to use photographed portions of his father’s archived score in this thesis; Darren Yearsley at the CBC archives for sending me the recording of the radio broadcast in which Private Collection was premiered; John S.
    [Show full text]
  • John Weinzweig and the Canadian Mediascape, 1941-1948
    John Weinzweig and the Canadian Mediascape, 1941-1948 by Erin Elizabeth Scheffer A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Music University of Toronto © Copyright by Erin Elizabeth Scheffer 2019 John Weinzweig and the Canadian Mediascape Erin Elizabeth Scheffer Doctor of Philosophy Graduate Department of Music University of Toronto 2019 Abstract This dissertation explores John Weinzweig’s incidental music for radio and film and its context in Canadian cultural life. Between 1941 and 1948, Weinzweig composed music for nearly one hundred CBC radio docudrama episodes and for four National Film Board documentaries. Weinzweig’s time at the CBC and NFB was his first large scale success as a working composer, following his graduate studies at the Eastman School of Music. Weinzweig’s incidental music was publicly broadcast across Canada, and can be interpreted in light of how it represents Canada during an anxious and difficult yet significant time in the nation’s history through the Second World War and the immediate post-war era. These works, featuring new music broadcast by organizations in their infancy, helped to shape audience perceptions of a rapidly changing country. I begin by situating Weinzweig’s documentary music both temporally and philosophically. The opening chapter explores his biography, the musical context of the 1940s in Canada, and the creation of the CBC and NFB, and it closes by discussing significant themes in the works: indigeneity, northernness, dominion over the landscape, and nation and national affect. The subsequent three chapters divide Weinzweig’s docudramas and documentaries by topic: World War Two propaganda and postwar reconstruction, Canada’s north, and finally a discussion of Weinzweig’s only radio drama The Great Flood , which premiered on CBC’s ii cultural program Wednesday Night in 1948.
    [Show full text]
  • NEWSLETTER Published by the Institute for Canadian Music, Faculty of Music, University of Toronto
    Vol. 2, no. 3 · September 2004 ISSN 1705-1452 NEWSLETTER Published by the Institute for Canadian Music, Faculty of Music, University of Toronto Editor: Robin Elliott _______________________________________________________________________________________ A Canadian Music Bibliography, 1996-2004 This bibliography is an update of Carl Morey’s book 4. RILM Abstracts of Music Literature from BiblioLine: Music in Canada: A Research and Information Guide http://www.nisc.com/ 5. Theses Canada Portal from the Library and Archives of (New York & London: Garland, 1997). Morey’s Guide Canada: http://www.collectionscanada.ca/thesescanada/ lists items published up to 1995; this bibliography deals 6. UMI ProQuest Digital Dissertations: http://wwwlib.umi. with the period from 1996 (a few items from 1995 but com/dissertations not in Morey’s book are included) to August of 2004. In addition, I note with thanks the assistance of Morey’s Guide contains 918 items, all of them the following Canadian music experts: John Beckwith, annotated. Due to space limitations, annotations are not Beverley Diamond, Albrecht Gaub, Elaine Keillor, included here, except for a few cases where the title of Marie-Thérèse Lefebvre, Kathleen McMorrow, Mark an entry gives little or no indication as to the subject Miller, Carl Morey, and Gordon Smith. Readers are matter of the publication. invited to submit suggestions for corrections and/or Only works first published in traditional paper additions to this bibliography for inclusion in the format are included here, but many of these are also forthcoming expanded online version of this resource. available online. If the full text is available online, the symbol (in smaller fonts ) appears at the end of the The next ICM Newsletter appears in January entry.
    [Show full text]
  • For Immediate Release – June 19, 2013 the CANADIAN
    Officers Elected June 2013: President / Présidente Dr Mary Ingraham For Immediate Release – June 19, 2013 Department of Music THE CANADIAN UNIVERSITY MUSIC SOCIETY AND THE SOCAN FOUNDATION ANNOUNCE WINNER OF University of Alberta THE 2013 SOCAN FOUNDATION/CUMS AWARD OF EXCELLENCE FOR THE ADVANCEMENT OF RESEARCH 3-82 Fine Arts Building Edmonton, AB T6G 2C9 IN CANADIAN MUSIC (780) 492-6147; fax: (780) 492-9246 [email protected] The Canadian University Music Society and the SOCAN Foundation are pleased to announce that Dr. Elaine Keillor is the Vice-President/ Vice-Présidente recipient of the SOCAN Foundation/CUMS Award of Excellence for the Advancement of Research in Canadian Music . Dr Joelle Welling Department of Music The SOCAN Foundation/CUMS Award of Excellence recognizes, on an annual basis, a mature scholar who has established a University of Calgary 2500 University Drive NW nation-wide profile in the field of research into Canadian music and its composers. The winner’s dissemination of research results Calgary, AB T2N 1N4 demonstrably increases aural and cultural understanding of Canadian music among other musical scholars and among musical (403) 220-2456; fax (403) 284-0973 performers. It also leads to increased understanding of Canadian music among the general public for music, or among members [email protected] of a younger generation of future audiences and musicians. More information on the award itself is available on the CUMS Pastpresident / Présidente sortante website: www.cums-smuc.ca . Dr Lynn Cavanagh Department of Music University of Regina 3737 Wascana Parkway Born in London, Ontario, Elaine Keillor, Distinguished Research Professor Emerita, Carleton University, received her Associate Regina, SK S4S 0A2 (ARCT) in piano performance with all theoretical requirements completed at the age of ten.
    [Show full text]
  • Barbara Pentland's Songs for Soprano: a Performer's Guide to Selected
    BARBARA PENTLAND’S SONGS FOR SOPRANO: A PERFORMER’S GUIDE TO SELECTED MAJOR WORKS A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2015 by Catherine Abele B.Mus. University of Manitoba, 2003 M.M. University of Cincinnati, 2006 Committee Chair: Professor Mary Henderson Stucky Abstract: Canadian composer Barbara Pentland (1912 – 2000) is primarily recognized for her piano and chamber music. She composed a number of art songs worthy of study and performance, yet audiences are generally unfamiliar with her solo vocal music, and singers largely neglect the repertoire. Despite the quality of her output, limited scholarly consideration has been given to her solo vocal works, and, to date, there exists no performance guide to her vocal-piano literature with in-depth attention given to the performance requirements. This document is a study of four representative works suitable to the soprano Fach, each representing distinctive stylistic periods and exhibiting diverse aesthetic influences on Pentland’s approach to composition: Ruins (Ypres, 1917) (1932), Song Cycle (1942-45), Three Sung Songs (1964) and Ice Age (1986). The introductory chapter of this document includes the statement of purpose for this study, background information, review of related literature, and methodology. Chapters 2 through 5 discuss each of the four vocal works, with particular attention given to the components of style of each song and performance considerations. The final chapter is a summary of findings and conclusions.
    [Show full text]
  • Participating in the Memorials for Helmut Kallmann (1922-2012)
    PARTICIPATING IN THE MEMORIALS FOR HELMUT KALLMANN (1922-2012) BY ELAINE KEILLOR Based on the author’s remarks and participation at the Memorials for Helmut Kallmann held in Ottawa on 14 February 2012 and in Toronto on 10 April 2012. Helmut Kallmann‟s book, A History of Music in Canada, 1534-1914 (1960), made its appearance in our home soon after its publication. I can recall that my mother was so thrilled to find the section on her former teacher, W.O. Forsyth. My first personal contact with Helmut happened a few years later. By that time I was a graduate student at the University of Toronto and had decided to do a major research paper on W.O. Forsyth. While I was rummaging through my mother's papers to find information, I came across several clippings that she had snipped from the Toronto Globe in the mid-1930s. These were write-ups, each on a different Canadian composer with a listing of compositions. Helmut Kallmann had taken up his new position as head of the Music Division at the National Library of Canada (now known as Library and Archives Canada) in 1970. I decided to write him to find out if he knew about these particular articles. Imagine my delight when shortly after I received a long hand-written note from Helmut, thanking me profusely for bringing this information to his attention. He reported that he and his staff had been able to track down the whole series and as a consequence obtained much information that had not previously been known to him.
    [Show full text]
  • Requirernents for the Degree Of
    Acquisitions aml Acquisiîiins et nibiibgraphic Senrices senrices bibliographiques The author has granteci a non- L'auteur a accordé une Licence non exclusive licence allowing the exclusive permettant A la National Lbrary of Canada to Bibliothèque nationale du Canada de reprodua, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. AN EXAMMATION OF FOLK-MUSIC-[NSPIRED COMPOSITION IN CANADA THROUGH AN ANALYSIS OF SETiTMGS OF "DANS TOUS LES CANTONS" by Heidi J. Stepanek A thesis submitted to the Schwl of Graduate Studies in partial fulfilment of the requirernents for the degree of Master of Arts Department of Folklore Mernorial University of Newfoundland St. John's Newfoundland ABSTRACT This thesis examines the ways in which Canadian composers have utilized folk music. This practice can be traced back to the emergence of widespread interest among the elite classes in vemacular art and culture in Europe and figures most prominently in trends of romantic nationalism. Through a detailed analysis of seven settings of the French Canadian folksong "Dans tous les cantons," 1 seek to discover answers to three main questions: What reasons do composers give for the utilization of folk materials? What source musics have they used in this process? How have they musically manipdated these materials? The first chapter examines the European rwts of the techniques ofutilizing folk music in "art" music composition.
    [Show full text]
  • Developing the Framework for a Database of Art Song by Canadian Composers
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-28-2020 10:45 AM The Search for Canadian Art Song: Developing the Framework for a Database of Art Song by Canadian Composers Leanne Vida, The University of Western Ontario Supervisor: Roland, Sophie Louise, The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Doctor of Musical Arts degree in Music © Leanne Vida 2020 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation Vida, Leanne, "The Search for Canadian Art Song: Developing the Framework for a Database of Art Song by Canadian Composers" (2020). Electronic Thesis and Dissertation Repository. 7354. https://ir.lib.uwo.ca/etd/7354 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Art song is a diverse, inclusive genre of music, as well as an important pedagogical tool for singers. It can be performed in the smallest of spaces, but it is also able to hold its own in the largest concert halls. It requires only a few musicians, making it an ideal choice for a concert or recital setting, and its poetic content describes virtually every aspect of life, in many languages, making it accessible to a broad audience. Many of its works require less physical maturity on the part of singers and require less rigorous technical ability than larger concert repertoire or opera arias.
    [Show full text]
  • The University of Oklahoma Graduate College
    THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE CANADIAN PEDAGOGICAL PIANO REPERTOIRE SINCE 1970: A SURVEY OF CONTEMPORARY COMPOSITIONAL STYLES AND TECHNIQUES A Document SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of Musical Arts By CHRISTOPHER CHARLES HAHN Norman, Oklahoma 2005 UMI Number: 3203289 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. UMI 3203289 Copyright 2009 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106-1346 CANADIAN PEDAGOGICAL PIANO REPERTOIRE SINCE 1970: A SURVEY OF CONTEMPORARY COMPOSITIONAL STYLES AND TECHNIQUES A document APPROVED FOR THE SCHOOL OF MUSIC BY Dr. Edward Gates, Chair Dr. Jane Magrath, Chair Dr. Barbara Fast Dr. Michael Lee Dr. Sandra Ragan © Copyright by Christopher Hahn 2005 All Rights Reserved ACKNOWLEDGEMENTS I am indebted to many wonderful individuals and organizations for their contributions to this document. My sincere thanks go to Dr. Edward Gates for his invaluable guidance and patience with respect to the writing style and overall direction of this paper. In addition, his wisdom and insight in the teaching studio continues to provide constant inspiration in my own teaching and performing. I would like to thank Dr.
    [Show full text]