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ABSTRACTS of PAPERS READ at the FORTY-FOURTH ANNUAL MEETING of the AMERICAN MUSICOLOGICAL SOCIETY meeting jointly with the SOCIETY FOR MUSIC THEORY MINNEAPOLIS, MINNESOTA ocToBER 19-22, I978 THE COMPOSER IN MODERN CULTURE (A}4S) John Becker's Correspondence with Ezra Pound-- The origins of a Musical crusader Don GillesPie, C.F. Peters TABLE CONTEIITS OF Criticism, History and Class: A Case Study David Josephson, Brown Univ. Klimt and Mahler: Historicism and Secession in Viennese Culture at the Turn of the 20th Century AUTOUR DTOCKEGHEM: Historical and Practical tl Problems in 15th-Century Music (A!1S) Jon Finson, Univ. of North carolina Ockeghem's Canonic Chanson: A Reconsideration Richard wexfer, Unj-v. of Maryland SEQUENCE AND TROPE: Panel Dj-scussion (AMS) Ockeghem's Offertory: Mensural Anomaly or Lance Brunner, Univ. of Kerltucky, Chairman l2 Structural Capstone? Michael Eckert, Tulane Univ. Richard Crocker, Univ. of California, Berkeley Ockeghem and Busnois: A Comparison Aleiandro Planchart, Univ. of California, Leeman Perkins, Colunbia Univ. Santa Barbara Charles Atkinson, ohio State Univ. HAYDN STUDIES (AMS) Terence Bailey, Univ. q1 Western Ontario Joseph Haydn and Leopold Hofmannrs Street Songs A. Peter Bro$/n, Indiana Univ. MUSIC AT SIXTEENTH-CENTURY ITALIAN COURTS (A}{S) The Compositional History of Haydn's Syrnphonies of l-778-81 Isal:elfa drEste and Lorenzo da Pavia: Mugical Stephen Fisher, Univ. of pennsylvanra Instruments at a Renaissance Court WiIliam Pri-zer, Univ. of Kentucky T2 Haydnrs Variations and their Expansions Elaine Sisman , Univ. of Michigan Jean Mouton and Jean Michel: New Evidence on French Musj-c and Musicians in Italy, 1505-1520 Lewis Lockwood, Princeton Univ. I3 NINETEENTH CENTURY TOPICS (AMS) A Gift of Chansons and l4otets The New Public and the Reordering of the Musical Iain Fenlon, King's college, Cambridge t4 Establishment: The Lower Rhine Music Festivals, 18r8-1867 Guglielrno Gonzaga and the Castrati Cecelia Porter, Washington, D.C. Richard Sherr, Smith College I4 Meyerbeer's Les Huguenots and French Music Criticism in the 1830's EIGHTEEI']TH-CENTURY MUSTC AND IDEOLOGY (AMS) Laurie Shu1man, Cornell Univ. Rousseau's fnfluence on Emerging Musical Verdi, Giuseppina Pasqua, and the Composition Nationalism in Germany of Falstaff Daniel Fallon, Univ. of connecticut, Starnford I5 James Hepokoski, Arlington, Massachusetts Metody, l"leaning, and Morality: Rousseau and French Cri EicaI Tradition aal Jane Fulcher, Syracuse Univ. I6 IV THE COMPOSER IN MODERN CULTURE (A}4S) John Becker's Correspondence with Ezra Pound-- The origins of a Musical crusader Don GillesPie, C.F. Peters TABLE CONTEIITS OF Criticism, History and Class: A Case Study David Josephson, Brown Univ. Klimt and Mahler: Historicism and Secession in Viennese Culture at the Turn of the 20th Century AUTOUR DTOCKEGHEM: Historical and Practical tl Problems in 15th-Century Music (A!1S) Jon Finson, Univ. of North carolina Ockeghem's Canonic Chanson: A Reconsideration Richard wexfer, Unj-v. of Maryland SEQUENCE AND TROPE: Panel Dj-scussion (AMS) Ockeghem's Offertory: Mensural Anomaly or Lance Brunner, Univ. of Kerltucky, Chairman l2 Structural Capstone? Michael Eckert, Tulane Univ. Richard Crocker, Univ. of California, Berkeley Ockeghem and Busnois: A Comparison Aleiandro Planchart, Univ. of California, Leeman Perkins, Colunbia Univ. Santa Barbara Charles Atkinson, ohio State Univ. HAYDN STUDIES (AMS) Terence Bailey, Univ. q1 Western Ontario Joseph Haydn and Leopold Hofmannrs Street Songs A. Peter Bro$/n, Indiana Univ. MUSIC AT SIXTEENTH-CENTURY ITALIAN COURTS (A}{S) The Compositional History of Haydn's Syrnphonies of l-778-81 Isal:elfa drEste and Lorenzo da Pavia: Mugical Stephen Fisher, Univ. of pennsylvanra Instruments at a Renaissance Court WiIliam Pri-zer, Univ. of Kentucky T2 Haydnrs Variations and their Expansions Elaine Sisman , Univ. of Michigan Jean Mouton and Jean Michel: New Evidence on French Musj-c and Musicians in Italy, 1505-1520 Lewis Lockwood, Princeton Univ. I3 NINETEENTH CENTURY TOPICS (AMS) A Gift of Chansons and l4otets The New Public and the Reordering of the Musical Iain Fenlon, King's college, Cambridge t4 Establishment: The Lower Rhine Music Festivals, 18r8-1867 Guglielrno Gonzaga and the Castrati Cecelia Porter, Washington, D.C. Richard Sherr, Smith College I4 Meyerbeer's Les Huguenots and French Music Criticism in the 1830's EIGHTEEI']TH-CENTURY MUSTC AND IDEOLOGY (AMS) Laurie Shu1man, Cornell Univ. Rousseau's fnfluence on Emerging Musical Verdi, Giuseppina Pasqua, and the Composition Nationalism in Germany of Falstaff Daniel Fallon, Univ. of connecticut, Starnford I5 James Hepokoski, Arlington, Massachusetts Metody, l"leaning, and Morality: Rousseau and French Cri EicaI Tradition aal Jane Fulcher, Syracuse Univ. I6 IV Re.ichardt, Burney, anC cerman Genius Schenker: The New Orthodoxy Thomas Bauman, Univ. of Pennsylvania I7 Gregory Procter, Ohio State Univ. )1 Dr. Burney and the 'Trouble with the cermans' Kerry Grant, McGi1l Univ. 18 LECTURE-RECfTAL: performance practice problems in the Piano Music of Debussy Paul Jacobs, Brooklyn College PROKOFIEV: Studies for the 25th Anniversarv of His Death (AMS) LITURGICAL DRAMA: Round Table (AMS) Prokofiev as Composer of Music for Movies MiloE vefimirovi6. univ. of Vlrginia Influences on the Development of the Liturgical Drama: An Introduction Prokofiev's The cambler--A Break with Operatic Tradition Sister Marie Dolores Moore, College Misericordia 28 Boris Schwarz, Queens College Amalarius of Metz, the Divine Office and Liturgical Drama Mischief, Mockery, and Merriment in prokofiev's Roger Evans, Univ. of pittsburgh Love for Three Oranges 29 @anaUniv. The Role of the Office Antiphon in Tenth- Centur-y Liturgical Drama Tone, Style and Form in prokofiev's Operas: Clyde Brockett, Christopher-Newport Some Preliminary Observations Coflege Richard Taruskin, Co-lumbia Univ. Medieval Monastic Liturgy and the Ludus pereqrinus: thc Relationship of the Antiphon toEt.urqfZfi-- Drama A}{ERICAN MUSIC (AMS) Mary Margaret Mahone, Southern Seminary Recurrences in the Songs Stephen of Foster The Origins of the euem quaeritis 'type 2' Michael Leavitt. creat Neck, New york Text Variant Timothy Mccee, Univ. of Toronto la Toward a Revaluation of Gershwin's porgy and BesS The Tours Ludus paschafis:--- Reconstruction of - Lawrence Starr, Univ, of Washington the Second-fEEIiE-EE--E-TTuciaf Etement in irs Dramatic Continuity The Sengerfest--A Vj-gnette German-American of R. Carrolf Stegall, Appalachian Univ. 32 Musical- Li f e State Edward C. tr{est Woff, Liberty State Co}lege Liturgical Drama in Croatia: Some Aspects of Transcription and Comparative Reconstitution of Tractus stellae of the Zagreb Manuscript VIEWS ON SCHENKER (sI,It1 ttR t6S ITTEE-century) Dujka Smoje, Univ. of Montrea] 33 A Response to Schenker's A:.ralysrs of Chopin's Etude, Op.10, No. 12, Using Schoenberg's Grund-cestalt Concept RENAISSANCE MASTERS: l{iscellaneous (AMS) Graham H. Phipps, Colorado State Univ. Studies Aspects of Palestrina's parody procedure On Predicating Some Fundamental progressions: Harmonic Process and the Implication-Realization Quentin Quereau, Case Western Reserve 34 Mode 1 The Eugene pennsylvania 2l Significance of Mus. Ms, B. as a Source for Narmour, Univ. of the Motets of Cipriano de Rore Jessie Ann O\,vens, Columbia Univ. 35 VA Re.ichardt, Burney, anC cerman Genius Schenker: The New Orthodoxy Thomas Bauman, Univ. of Pennsylvania I7 Gregory Procter, Ohio State Univ. )1 Dr. Burney and the 'Trouble with the cermans' Kerry Grant, McGi1l Univ. 18 LECTURE-RECfTAL: performance practice problems in the Piano Music of Debussy Paul Jacobs, Brooklyn College PROKOFIEV: Studies for the 25th Anniversarv of His Death (AMS) LITURGICAL DRAMA: Round Table (AMS) Prokofiev as Composer of Music for Movies MiloE vefimirovi6. univ. of Vlrginia Influences on the Development of the Liturgical Drama: An Introduction Prokofiev's The cambler--A Break with Operatic Tradition Sister Marie Dolores Moore, College Misericordia 28 Boris Schwarz, Queens College Amalarius of Metz, the Divine Office and Liturgical Drama Mischief, Mockery, and Merriment in prokofiev's Roger Evans, Univ. of pittsburgh Love for Three Oranges 29 @anaUniv. The Role of the Office Antiphon in Tenth- Centur-y Liturgical Drama Tone, Style and Form in prokofiev's Operas: Clyde Brockett, Christopher-Newport Some Preliminary Observations Coflege Richard Taruskin, Co-lumbia Univ. Medieval Monastic Liturgy and the Ludus pereqrinus: thc Relationship of the Antiphon toEt.urqfZfi-- Drama A}{ERICAN MUSIC (AMS) Mary Margaret Mahone, Southern Seminary Recurrences in the Songs Stephen of Foster The Origins of the euem quaeritis 'type 2' Michael Leavitt. creat Neck, New york Text Variant Timothy Mccee, Univ. of Toronto la Toward a Revaluation of Gershwin's porgy and BesS The Tours Ludus paschafis:--- Reconstruction of - Lawrence Starr, Univ, of Washington the Second-fEEIiE-EE--E-TTuciaf Etement in irs Dramatic Continuity The Sengerfest--A Vj-gnette German-American of R. Carrolf Stegall, Appalachian Univ. 32 Musical- Li f e State Edward C. tr{est Woff, Liberty State Co}lege Liturgical Drama in Croatia: Some Aspects of Transcription and Comparative Reconstitution of Tractus stellae of the Zagreb Manuscript VIEWS ON SCHENKER (sI,It1 ttR t6S ITTEE-century) Dujka Smoje, Univ. of Montrea] 33 A Response to Schenker's A:.ralysrs of Chopin's Etude, Op.10, No. 12, Using Schoenberg's Grund-cestalt Concept RENAISSANCE MASTERS: l{iscellaneous (AMS) Graham H. Phipps, Colorado State Univ.
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    OPERA ŚLĄSKA W BYTOMIU Dy r ekt o r : TADEUSZ SERAFIN GIUSEPPE VERDI DON CARLOS opera w IV aktach libretto według dramatu FRIEDRICHA SCHILLERA Joseph Mery, Camille du Locie spektakl w oryginalnej wersji językowej Realizatorzy premierowego s pektaklu : kierownictwo muzyczne: Tadeusz SERAFIN reżyseria i scenografia: Waldemar ZAWODZIŃSKI ruch sceniczny i choreografia : Janina N I ESOBSKA kierownik chóru: Krzysztof MARTYNIAK kierownik baletu: Olga KOZI MALA-KLIŚ współpraca muzyczna: Dorota AGNOLETTO, Krzysztof DZIEWIĘCKI, Andrzej KNAP asystenci reżysera: Maciej KOMANDERA, Jarosław ŚWITAŁA asystentka scenografa: Katarzyna ZBŁOWSKA korepetytorzy: Larysa CZABAN, Halina MANSARLIŃSKA, Halina TELIGA konsultacja językowa : Dorota AGNOLETTO Giuseppe Verdi (1813 - 1901) PREMIERA W OPERZE ŚLĄSKIEJ W BYTOMIU 22 MAJA 2011 r. , / ł [_=~L ,_ ' I' ~ '-..../ . pro1·ekt kostiumu pro1e. kt kost1Umu Verdi ~ w Operze Sląskiej W IV AKTACH PREMIERY l1bre110 ••dlu1 "fł't ••••u k1 •1••n•c••o „„,,u„• Tatleu11 SllAFIN flllDllCHA SCHILLERA, reiyseNe 1 u:eno1raf11 W•ld•••r ZA.WODZIŃSKI TRAVIATA- 1946 Joseph M•ty I Camille du Loci• ruch -..u:r "', <herwot••h• Janłna NJESOISKA AIDA- 1947 Spelrlalll ' w •. rJ'tinal111ef t. >•• owruk choi "' Kn:y11ł•f MARTY NIAi wersji Jtzrll•w•t 111 01 ow•o t b110111 0111 KOZIMALA„KLli RIGOLETTO - 1949 • U~Olp,u1 •\lrlUfl• O.rol• MlłOl.lfl'D. 1,.,.11of DIUWICCICI. A1114rHf IUll•• • • J•I•"'' ••iy•e•• Ml<• •1 IOw.t.11e1•&.11....tew łWltAU TRUBADUR - 1954 Hf•l11111h 1un11tr1l1 ••tony„ ZatOWlltA ke>1 1 pfl11o r1y h•'f•• CIAUM. lloilfl1 M.AlłAJlltlłlXA , MlllH TIUIA kOn•„ltH11 l• • t • ~wA h 1ol1 &CIMOllTTO DON CARLOS - 1955 Ą BAL MASKOWY - 1958 . (H••r lłlllADICIU.
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