DOCSLIB.ORG

Listado De Encabezamientos De Materia De Música Basado En El Tesauro De Autoridades De La Biblioteca Del Congreso

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Listado De Encabezamientos De Materia De Música Basado En El Tesauro De Autoridades De La Biblioteca Del Congreso 9 788493 493240 © Asociación Española de Documentación Musical (Aedom), 2013 Listado de encabezamientos de materia de música Basado en el tesauro de autoridades de la Biblioteca del Congreso Adaptación del libro: Harriette Hemmasi, Fred Rowley, Perry Bratcher & Library of Congress. Music subject headings: Compiled from Library of Congress subject headings. Lake Crystal, Minn: Soldier Creek Press, 1998. Grupo Gardano Coordinador del grupo y de la traducción: José Luis Maire Montero, Biblioteca de la Fundación Juan March Participantes: Begoña Álvarez López. Archivo de la Orquesta y Coro Nacionales de España (OCNE). Jon Bagüés Erriondo. Eresbil, Archivo Vasco de la Música. Montserrat Bergadà Armengol. Koldo Bravo Goñi. Musikene, Centro Superior de Música del País Vasco. Carmen Bravo Peláez. Biblioteca del Real Conservatorio Superior de Música de Madrid (RCSMM). José Ignacio Cano Martín. Centro de Documentación de Música y Danza (Inaem). Rosa María Castell Centeno. Institut Valencià de la Música, Generalitat Valenciana. Mercedes Colmenar. Archivo de la Orquesta y Coro Nacionales de España (OCNE). Isabel Frontón Simón. Archivo de la Orquesta y Coro Nacionales de España (OCNE). Raúl Luis García. Jesús Jiménez Pelayo. Centro de Documentación Musical de Andalucía. Jaione Landaberea. Eresbil, Archivo Vasco de la Música. José Luis Maire Montero. Biblioteca de la Fundación Juan March. Katia de Miguel Leis. María Carmen Millán Ráfales. Centro de Documentación Musical de Andalucía. Montserrat Morató Lara. Centro de Documentación de Música y Danza (Inaem). Dunia Ranera Sánchez. Antonia Riquelme Gómez. Centro de Documentación Musical de Andalucía. Sabina Sánchez de Enciso. Victoria Vázquez Balenciaga. Musikene, Centro Superior de Música del País Vasco. Instituciones colaboradoras: Archivo de la Orquesta y Coro Nacionales de España (OCNE). Biblioteca del Real Conservatorio Superior de Música de Madrid (RCSMM). Centro de Documentación de Música y Danza (Inaem). Centro de Documentación Musical de Andalucía. Institut Valencià de la Música, Generalitat Valenciana. Eresbil, Archivo Vasco de la Música. Fundación Xavier de Salas (Trujillo). Musikene, Centro Superior de Música del País Vasco. Revisión y finalización de la traducción: Koldo Bravo Goñi; Rosa María Castell Centeno; José Luis Maire Montero; Dunia Ranera Sánchez; Antonia Riquelme Gómez. Diseño y maquetación: Juan Nava gráfico ISBN: 978-84-934932-4-0 Depósito legal: M-36549-2013 Imprime: Impresum.es Listado de encabezamientos de materia de música Basado en el tesauro de autoridades de la Biblioteca del Congreso GRUPO DE CATALOGACIÓN GARDANO 6 Presentación Desde el comienzo de su andadura, una de las principales preocupaciones del Grupo de trabajo de catalogación musical Gardano de la Asociación Española de Documentación Musical (Aedom) fue la creación de herramientas de catalogación, el intercambio de dudas y la recopilación de obras de referencia todavía no conocidas suficientemente en el ámbito de habla castellana. Uno de los apartados de la documentación musical con más lagunas, en lo que se refiere a la traducción de textos de especial interés, era el que pertenecía al campo de las autoridades de materia1. El proyecto de traducción de encabezamientos de materia de música surgió, en un principio, como una mera puesta en común de los problemas suscitados en el trabajo diario de los profesionales de la documentación musical. Si bien este listado o vocabulario técnico tiene su origen en la traducción de la obra de referencia Music Subject Headings: Compiled from Library of Congress Subject Headings2, con el tiempo la tarea de traducción se convirtió, paulatinamente, en un ejercicio que consistía en adaptar al castellano los términos problemáticos y en revisar el listado publicado en 1998. Como todo proyecto colectivo que se prolonga a lo largo de los años, la metodología de trabajo ha sido muy flexible para dar cabida a los problemas que han ido surgiendo durante su traducción: desde cambios en la autoridad de las materias de alguna categoría determinada (debidos a la política y normativa local de la propia Library of Congress), nuevas normativas y adaptaciones de las reglas de catalogación, disparidad de criterios de traducción entre los miembros del grupo de trabajo, sucesión de procesos de simplificación del proyecto original, etc. Como punto de partida el trabajo de traducción se repartió proporcionalmente entre todos los miembros del grupo de trabajo. Poco a poco, el vocabulario de términos recopilado por Hemmasi, a partir de los encabezamientos usados en la LC en la fecha de su publicación, fue revisado y comparado con los registros de autoridad del listado de autoridades en línea, Library of Congress Authorities (http:// authorities.loc.gov/). Para la traducción de los encabezamientos ha sido muy necesaria la consulta de obras de referencia habituales en la documentación musical (diccionarios, glosarios, enciclopedias, etc.) y la revisión del listado de encabezamientos de materias de la Biblioteca Nacional de España (BNE), así como del listado de encabezamientos de materia (Rameau) de la Bibliothèque Nationale de France (vocabulario que tuvo muy presente, a su vez, la traducción del inglés al francés realizada por la Université Laval, Répertoire de vedettes-matière de l’Université Laval). A lo largo de estos años el grupo de trabajo ha tenido cinco encuentros en los que todo el listado ha sido repasado y cada término problemático ha sido revisado y adaptado al castellano siguiendo la práctica habitual de la comunidad de músicos, bibliotecarios, documentalistas y los criterios de redacción de los encabezamientos de materia del manual de encabezamientos de la LC3. Las reuniones y encuentros de trabajo fueron los siguientes (sirva también este listado como agradecimiento a las instituciones y a sus profesionales que nos dieron cobijo y nos proporcionaron las herramientas y ayuda necesarias para avanzar en el proyecto): *2005, 25-27 de noviembre. Lugar: Fundación Xavier de Salas (Trujillo). *2006, 2-6 de junio. Lugar: Eresbil, Archivo Vasco de la Música (Rentería). *2006, 15-17 de diciembre. Lugar: Biblioteca del Real Conservatorio Superior de Música de Madrid. *2009, 29-30 de mayo. Lugar: Biblioteca del Real Conservatorio Superior de Música de Madrid. *2010, 6 de febrero. Lugar: Archivo de la Orquesta y Coro Nacionales de España (Madrid). Para finalizar el periodo de revisión de la traducción del grupo se creó una comisión que necesitó del siguiente encuentro: *2012, 27-29 de enero. Lugar: Musikene, Centro Superior de Música del País Vasco (San Sebastián). 7 Indicaciones sobre la traducción de encabezamientos de materia 1. Encabezamientos que incluyen el registro del instrumento Algunos encabezamientos de instrumentos incluyen la denominación completa con su registro determinado, por ejemplo: Trombón alto o Clarinete bajo. En este listado de materias (traducción de LCSH) los instrumentos autorizados con denominación de registro aparecen perfectamente señalados en el catálogo de autoridades de la Library of Congress (http://authorities.loc.gov/webvoy.htm). Por otra parte, pueden asignarse como medio de interpretación en encabezamientos de forma/género, únicamente, cuando las obras han sido compuestas para uno o dos instrumentos solistas, o acompañados por un conjunto instrumental. 150 ## $a Flauta alto, Música para 150 ## $a Flauta alto y viola, Música para 150 ## $a Trombón alto con orquesta de cuerda El registro de autoridad de estos instrumentos estará autorizado en el catálogo: 150 ## $a Clarinete bajo, Música para Y todos los registros bibliográficos que tengan asignado este encabezamiento de materia podrán usar este instrumento con su registro específico: 650 ## $a Conciertos (Clarinete bajo y contrabajo con conjunto de jazz) Sin embargo, cuando el instrumento forma parte de un medio de interpretación con más de dos instrumentos, el registro no está autorizado: 650 ## $a Sextetos (Piano, clarinete, flauta, violín, viola, contrabajo) 1 En este apartado no podemos olvidar el cuaderno de trabajo de la Aedom, Encabezamientos de materias de música: pautas y modelos, Madrid: Grup de Música del Col·legi Oficial de Bibliotecaris- Documentalistes de Catalunya, 1999. Para la traducción de este listado este trabajo sirvió de gran ayuda, principalmente en la revisión de la traducción para los subencabezamientos. 2 Hemmasi, H., Rowley, F., Bratcher, P., & Library of Congress, Music subject headings: Compiled from Library of Congress subject headings. Lake Crystal, Minn: Soldier Creek Press, 1998. 3 Library of Congress. Subject Cataloging Division, Subject cataloging manual. Subject headings, Washington: Library of Congress, 1984-. 8 2. El orden de los instrumentos en los encabezamientos de materia FAMILIA INSTRUMENTAL COMENTARIOS ORDEN EN LA FAMILIA acordeón bandoneón celesta Tecla Orden alfabético clave órgano piano clarinete fagot Viento madera flauta oboe saxofón Viento Orden alfabético bombardino trombón Metales trompa trompeta tuba arpa guitarra Cuerda pulsada Orden alfabético laúd mandolina gong marimba Percusión, “Otros” incluyen: electrónica, xilófono Ondes Martenot, Orden alfabético y otros tambor armónica de cristal vibráfono violín Orden de la partitura: viola Cuerda frotada violín, viola, violonchelo, violonchelo contrabajo contrabajo Instrumentos no especificados El bajo continuo se sitúa como último elemento Bajo continuo en el orden del elemento de interpretación. 9 Ejemplos: Cuartetos (Clarinete, flauta, oboe, violonchelo) Quintetos (Clarinete, oboe, violín, viola, violonchelo)
Load more

Recommended publications
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • The World Atlas of Musical Instruments
    Musik_001-004_GB 15.03.2012 16:33 Uhr Seite 3 (5. Farbe Textschwarz Auszug) The World Atlas of Musical Instruments Illustrations Anton Radevsky Text Bozhidar Abrashev & Vladimir Gadjev Design Krassimira Despotova 8 THE CLASSIFICATION OF INSTRUMENTS THE STUDY OF MUSICAL INSTRUMENTS, their history, evolution, construction, and systematics is the subject of the science of organology. Its subject matter is enormous, covering practically the entire history of humankind and includes all cultural periods and civilizations. The science studies archaeological findings, the collections of ethnography museums, historical, religious and literary sources, paintings, drawings, and sculpture. Organology is indispensable for the development of specialized museum and amateur collections of musical instruments. It is also the science that analyzes the works of the greatest instrument makers and their schools in historical, technological, and aesthetic terms. The classification of instruments used for the creation and performance of music dates back to ancient times. In ancient Greece, for example, they were divided into two main groups: blown and struck. All stringed instruments belonged to the latter group, as the strings were “struck” with fingers or a plectrum. Around the second century B. C., a separate string group was established, and these instruments quickly acquired a leading role. A more detailed classification of the three groups – wind, percussion, and strings – soon became popular. At about the same time in China, instrument classification was based on the principles of the country’s religion and philosophy. Instruments were divided into eight groups depending on the quality of the sound and on the material of which they were made: metal, stone, clay, skin, silk, wood, gourd, and bamboo.
    [Show full text]
  • 2014 SSS Program.Indd
    Star-Spangled Spectacular! Benaroya Hall Thursday July 3, 2014 7:30 PM Larry Gookin, Conductor seattlewindsymphony.org Program The Star-Spangled Banner ................... Orchestrated by John Philip Sousa Harmonized by Walter Damrosch / Arranged by Keith Brion America The Beautiful........................... Samuel Augustus Ward / Arranged by Carmen Dragon ~Welcome~ Liberty Bell March ................................ Orchestrated by John Philip Sousa Arranged by Keith Brion Seattle Wind Symphony is especially proud to present our second STAR SPANGLED SPECTACULAR musical salute Thoughts of Love .................................. Arthur Pryor to our nation. Our music for this “extravaganza” has been selected to put a song on your lips, tears in your eyes Matthew Grey, Trombone Soloist and a warm feeling of patriotism in your heart. We want to extend a special welcome and thanks to the Honor Oh Shenandoah ................................... Arranged by Frank Ticheli Guard from Joint Base Lewis McChord for presenting the colors to start our concert. We also want to thank the management of Benaroya Hall for their excellent leadership in our presentation today. We are very appreciative of Through The Air .................................... August Damm the participation of vocal soloist Sheila Houlahan and our narrator Dave Beck for sharing their talents, and for our Sara Jolivet, Piccolo Soloist instrumental soloists Michel Jolivet, Sara Jolivet, and Matt Grey. Thank You! Marching Through Georgia ................... John Philip Sousa Arranged by Keith Brion With today’s concert, Seattle Wind Symphony will have completed our third season. We recognize that most Rolling Thunder .................................... Henry Fillmore people have never heard high quality symphonic wind music, so we would like to invite you to our regular season performances. The 2014-2015 season dates are posted on our web site: www.seattlewindsymphony.org.
    [Show full text]
  • Analytical Perspectives
    Rakočević, S.: Bouncing as a Distinguishable Structural Feature of Srpsko kolo... ANALYTICAL PERSPECTIVES Article received on September 26th 2019 Article accepted on November 28th 2019 UDC: 785.11:789.9 78.071.1 Михајловић М. Miloš Zatkalik*1 University of Arts Faculty of Music Department of Composition C, F-SHARP AND E-FLAT: THE TRAGIC, THE SUBLIME AND THE OPPRESSED (WITH C-SHARP AS NEMESIS): REFLECTIONS ON EINE KLEINE TRAUERMUSIK BY MILAN MIHAJLOVIĆ Abstract: In the present paper, I will discuss tonal centers and referential sonorities in the composition Eine kleine Trauermusik (1992) by one of the leading Serbian com- posers Milan Mihajlović. Even though its pitch structure may appear rather straight- forward with its octatonic scale and the primary tonal center in C, and with referential (quasi-tonic) chords derived from the harmonic series, I intend to highlight intricate narrative trajectories and dramatic conflicts between various tonal centers (treated as actors/characters). These narratives can be related to certain archetypal plots, with the *1 Author contact information: [email protected] 131 New Sound 54, II/2019 conclusion that there exists ambiguity between the tragic and the ironic archetype. On a higher plane, similar conflict/interplay/ambiguity exists between different principles of pitch organization, i.e. the octatonic and functionally tonal. The unresolved ambi- guities and simultaneity of conflicting interpretations are examined from the psycho- analytic perspective, which postulates isomorphism between musical structures and processes and the processes unfolding in the unconscious mind. Finally, the effect of these narratives, especially the overwhelming impact induced by the excerpt from Mozart’s piano concerto is linked with the idea of sublime as conceived by Kant, but also including other approaches (Burke, Lyotard etc.).
    [Show full text]
  • Electrophonic Musical Instruments
    G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 .
    [Show full text]
  • In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine
    In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine in Modern and Pre-modern Japan Michiko Urita A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Patricia Shehan Campbell, Chair Jeffrey M. Perl Christina Sunardi Paul S. Atkins Program Authorized to Offer Degree: Music ii ©Copyright 2017 Michiko Urita iii University of Washington Abstract In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine in Modern and Pre-modern Japan Michiko Urita Chair of the Supervisory Committee: Professor Patricia Shehan Campbell Music This dissertation explores the essence and resilience of the most sacred and secret ritual music of the Japanese imperial court—kagura taikyoku and kagura hikyoku—by examining ways in which these two songs have survived since their formation in the twelfth century. Kagura taikyoku and kagura hikyoku together are the jewel of Shinto ceremonial vocal music of gagaku, the imperial court music and dances. Kagura secret songs are the emperor’s foremost prayer offering to the imperial ancestral deity, Amaterasu, and other Shinto deities for the well-being of the people and Japan. I aim to provide an understanding of reasons for the continued and uninterrupted performance of kagura secret songs, despite two major crises within Japan’s history. While foreign origin style of gagaku was interrupted during the Warring States period (1467-1615), the performance and transmission of kagura secret songs were protected and sustained. In the face of the second crisis during the Meiji period (1868-1912), which was marked by a threat of foreign invasion and the re-organization of governance, most secret repertoire of gagaku lost their secrecy or were threatened by changes to their traditional system of transmissions, but kagura secret songs survived and were sustained without losing their iv secrecy, sacredness, and silent performance.
    [Show full text]
  • Music to Be Used in Treating Mental Retardation and Mental Illness 1
    Running Head: MUSIC TO BE USED IN TREATING MENTAL RETARDATION AND MENTAL ILLNESS 1 Music to Be Used in Treating Mental Retardation and Mental Illness Jordan Mitchell Helena College Introduction to Psychology 100 Professor Curtis Peterson MUSIC TO BE USED IN TREATING MENTAL RETARDATION AND MENTAL ILLNESS 2 Mental retardation and mental illness have been forces for study for centuries. Doctors and psychologists alike have studied these things extensively. A plethora of studies, theories, hypotheses, treatments, and advances in the fields of medicine and psychology have been made and examined because of them. From doctors to scholars, mental retardation and illness have led to a myriad of possible treatment solutions formulated around them. I, like the many scholars and experts, seek to find a solution to these abnormalities. This paper will examine the meanings, causes, facets, and effects of mental retardation and illness on both medicine and psychology; it will also examine the effect of music, as well as the effects it has on the human brain. These examinations will subsequently be used to propose plausible treatments. Medicine and Mental Abnormality Webster’s New World Medical Dictionary defines “mental retardation” as: “The condition of having an IQ measured as below 70 to 75 and significant delays or lacks in at least two areas of adaptive skills” (Shiel and Stöppler). While this offers an informative, basic definition, it still only scratches the surface of what the conditions entail. These abnormalities range from simple, easy-to-handle conditions such as some forms of Asperger syndrome, a type of autism in which strange levels of focus and attention are observed, as well as inappropriate social communication (“Asperger Syndrome”).
    [Show full text]
  • An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
    Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally.
    [Show full text]
  • Brazilian Nationalistic Elements in the Brasilianas of Osvaldo Lacerda
    Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2006 Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda Maria Jose Bernardes Di Cavalcanti Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Di Cavalcanti, Maria Jose Bernardes, "Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda" (2006). LSU Major Papers. 39. https://digitalcommons.lsu.edu/gradschool_majorpapers/39 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. BRAZILIAN NATIONALISTIC ELEMENTS IN THE BRASILIANAS OF OSVALDO LACERDA A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the Degree of Doctor of Musical Arts in The School of Music by Maria José Bernardes Di Cavalcanti B.M., Universidade Estadual do Ceará (Brazil), 1987 M.M., Louisiana State University, 2002 December 2006 © Copyright 2006 Maria José Bernardes Di Cavalcanti All Rights Reserved ii DEDICATION This monograph is dedicated to my husband Liduino José Pitombeira de Oliveira, for being my inspiration and for encouraging me during these years
    [Show full text]
  • Howe Collection of Musical Instrument Literature ARS.0167
    http://oac.cdlib.org/findaid/ark:/13030/c8cc1668 No online items Guide to the Howe Collection of Musical Instrument Literature ARS.0167 Jonathan Manton; Gurudarshan Khalsa Archive of Recorded Sound 2018 [email protected] URL: http://library.stanford.edu/ars Guide to the Howe Collection of ARS.0167 1 Musical Instrument Literature ARS.0167 Language of Material: Multiple languages Contributing Institution: Archive of Recorded Sound Title: Howe Collection of Musical Instrument Literature Identifier/Call Number: ARS.0167 Physical Description: 438 box(es)352 linear feet Date (inclusive): 1838-2002 Abstract: The Howe Collection of Musical Instrument Literature documents the development of the music industry, mainly in the United States. The largest known collection of its kind, it contains material about the manufacture of pianos, organs, and mechanical musical instruments. The materials include catalogs, books, magazines, correspondence, photographs, broadsides, advertisements, and price lists. The collection was created, and originally donated to the University of Maryland, by Richard J. Howe. It was transferred to the Stanford Archive of Recorded Sound in 2015 to support the Player Piano Project. Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, California 94305-3076”. Language of Material: The collection is primarily in English. There are additionally some materials in German, French, Italian, and Dutch. Arrangement The collection is divided into the following six separate series: Series 1: Piano literature. Series 2: Organ literature. Series 3: Mechanical musical instruments literature. Series 4: Jukebox literature. Series 5: Phonographic literature. Series 6: General music literature. Scope and Contents The Howe Musical Instrument Literature Collection consists of over 352 linear feet of publications and documents comprising more than 14,000 items.
    [Show full text]
  • November 1949) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 11-1-1949 Volume 67, Number 11 (November 1949) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 67, Number 11 (November 1949)." , (1949). https://digitalcommons.gardner-webb.edu/etude/156 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]. L 1 L II Li the music magazine 'GOUNOD £ MOZART! ViAGNER l* { u 1 TT~9 November 1949 Goodby, Mr. Johnson Price 30 cents by H. W. Heinsheimer CH RISTMAS is fun for CH I LDREN majestic Electronic Organ for its rganists know the Baldwin WITH CROSSPATCH FAIRIES solo and THE range of musical effects, both SANTA CLAUS CHRISTMAS PARTY tone, its wide by Norwood Dale Price, 60c Massena Price, 60c playing. by C. E. Le LITTLE it too for its ease of melodious, ensemble! They know Full of Holiday spirit . bright and Sparkling operetta for children seven to fifteen yet simple enough for easy performance. Char- choice of delightful . plot why the Baldwin is the years of age. Tuneful . Those are the main reasons MUSICAL acters include Mother Goose, Fairies, and Mr.
    [Show full text]
  • Folklife Festival Tjgjtm Smithsms Folklife Festival
    Smithsonian Folklife Festival tjgJtm SmithsMS Folklife Festival On the National Mall Washington, D.C. June 24-28 & July 1-5 Cosponsored by the National Park Service 19 98 SMITHSONIAN ^ On the Cover General Festival LEFT Hardanger fiddle made by Ron Poast of Black Information 101 Earth, Wisconsin. Photo © Jim Wildeman Services & Hours BELOW, LEFT Participants Amber, Baltic Gold. Photo by Antanas Sutl(us Daily Schedules BELOW, CENTER Pmi lace Contributors & Sponsors from the Philippines. Staff Photo by Ernesto Caballero, courtesy Cultural Special Concerts & Events Center of the Philippines Educational Offerings BELOW, RIGHT Friends of the Festival Dried peppers from the Snnithsonian Folkways Recordings Rio Grande/ Rio Bravo Basin. Photo by Kenn Shrader Contents ^ I.Michael Heyman 2 Inside Front Cover The festival: On the Mall and Back Home Bruce Babbitt Cebu Islanders process as part of the Santo Nino (Holy 3 Child) celebrations in Manila, the Philippines, in 1997. Celebrating Our Cultural Heritage Photo by Richard Kennedy Diana Parker 4 Table of Contents Image Jhe festival As Community .^^hb The Petroglyph National Monument, on the outskirts Richard Kurin 5 ofAlbuquerque, New Mexico, is a culturally significant Jhe festival and folkways — space for many and a sacred site for Pueblo peoples. Ralph Rinzler's Living Cultural Archives Photo by Charlie Weber Jffc Site Map on the Back Cover i FOLKLIFE FESTIVAL Wisconsin Pahiyas: The Rio Grande/ Richard March 10 A Philippine Harvest Rio Bravo Basin Wisconsin Folldife Marian Pastor Roces 38 Lucy Bates, Olivia Cadaval, 79 Robert T.Teske 14 Rethinking Categories: Heidi McKinnon, Diana Robertson, Cheeseheads, Tailgating, and the The Making of the ?di\\\yas and Cynthia Vidaurri Lambeau Leap: Tiie Green Bay Packers Culture and Environment in the Rio Richard Kennedy 41 and Wisconsin Folldife Grande/Rio Bravo Basin: A Preview Rethinking the Philippine Exhibit GinaGrumke 17 at the 1904 St.
    [Show full text]