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In the Player Piano Conventional Piano
;- THE AMICA NEWS BULLETIN OF THE AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION NOVEMBER 1978 VOLUME 15 NUMBER 9 INTERNATlONAL OFFICERS CHAPTER OFFICERS PRESIDENT Bob Rosencrans 36 Hampden Rd. NO. CALIFORNIA Upper Darby, PA 19082 Pres.: Howard Koff Vice Pres: Phil McCoy VICE PRESIDENT Sec. David Fryman Bill Eicher Treas.: Bob Wilcox 465 Winding Way Reporter: Stuart Hunter Dayton, OH 45429 SO. CALIFORNIA Pres.: Francis Cherney SECRETARY Vice Pres.: Mary Lilien Jim Weisenborne Sec.: Greg Behnke AMICA MEMBERSHIP RATES: 73 Nevada St. Treas.: Roy Shelso Rochester, MI 48063 Reporter: Bill Toeppe Continuing Members: $1 S Dues TEXAS New Members, add $S processing fee PUBLISHER Pres.: Haden Vandiver Tom Beckett Vice Pres.: Bill Flynt Lapsed Members, add $3 processing fee 681 7 CI iffbrook SeclTreas.: Charlie Johnson Dallas, TX 75240 Reporter: Dick Barnes MIDWEST MEMBERSHIP SECRETARY Pres.: Bennet Leedy (New memberships and Vice Pres .. Jim Prendergast mailing problems) Sec.: Jim Weisenborne THE AMICA NEWS BULLETIN Charlie W Johnson Treas.: Alvin Wulfekuhl PO. Box 38623 Reporter: Molly Yeckley Dallas, Texas 75238 PHILADELPHIA AREA TREASURER Pres.: Mike Naddeo Published by the Automatic Musical Instrument Collectors' Jack & Mary Riffle Vice Pres. John Berry Association, a non-profit club devoted to the restoration, distribu 5050 Eastside Calpella Rd. Sec. Dick Price tion and enjoyment of musical instruments using perforated paper Ukiah, CA 95482 Treas: Claire Lambert music rolls. Reporter: Allen Ford Contributions: All subjects of interest to readers of the bulletin BOARD REPRESENTATIVES SOWNY (So. Ontario, West NY) are encouraged and invited by the publisher. All articles must be N. Cal. Frank Loob Pres.: Chuck Hannen received by the 10th of the preceding month. -
IGUSTAV MAHLER Ik STUDY of HIS PERSONALITY 6 WORK
IGUSTAV MAHLER Ik STUDY OF HIS PERSONALITY 6 WORK PAUL STEFAN ML 41O M23S831 c.2 MUSI UNIVERSITY OF TORONTO Presented to the FACULTY OF Music LIBRARY by Estate of Robert A. Fenn GUSTAV MAHLER A Study of His Personality and tf^ork BY PAUL STEFAN TRANSLATED FROM THE GERMAN EY T. E. CLARK NEW YORK : G. SCHIRMER COPYRIGHT, 1913, BY G. SCHIRMER 24189 To OSKAR FRIED WHOSE GREAT PERFORMANCES OF MAHLER'S WORKS ARE SHINING POINTS IN BERLIN'S MUSICAL LIFE, AND ITS MUSICIANS' MOST SPLENDID REMEMBRANCES, THIS TRANSLATION IS RESPECTFULLY DEDICATED BERLIN, Summer of 1912. TRANSLATOR'S PREFACE The present translation was undertaken by the writer some two years ago, on the appearance of the first German edition. Oskar Fried had made known to us in Berlin the overwhelming beauty of Mahler's music, and it was intended that the book should pave the way for Mahler in England. From his appearance there, we hoped that his genius as man and musi- cian would be recognised, and also that his example would put an end to the intolerable existing chaos in reproductive music- making, wherein every quack may succeed who is unscrupulous enough and wealthy enough to hold out until he becomes "popular." The English musician's prayer was: "God pre- serve Mozart and Beethoven until the right man comes," and this man would have been Mahler. Then came Mahler's death with such appalling suddenness for our youthful enthusiasm. Since that tragedy, "young" musicians suddenly find themselves a generation older, if only for the reason that the responsibility of continuing Mah- ler's ideals now rests upon their shoulders in dead earnest. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Music as Representational Art Permalink https://escholarship.org/uc/item/1vv9t9pz Author Walker, Daniel Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Volume I Music as Representational Art Volume II Awakening A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Daniel Walker 2014 © Copyright by Daniel Walker 2014 ABSTRACT OF THE DISSERTATION Volume I Music as Representational Art Volume II Awakening by Daniel Walker Doctor of Philosophy in Music University of California, Los Angeles, 2014 Professor Ian Krouse, Chair There are two volumes to this dissertation; the first is a monograph, and the second is a musical composition, both of which are described below. Volume I Music is a language that can be used to express a vast range of ideas and emotions. It has been part of the human experience since before recorded history, and has established a unique place in our consciousness, and in our hearts by expressing that which words alone cannot express. ii My individual interest in the musical language is its use in telling stories, and in particular in the form of composition referred to as program music; music that tells a story on its own without the aid of images, dance or text. The topic of this dissertation follows this line of interest with specific focus on the compositional techniques and creative approach that divide program music across a representational spectrum from literal to abstract. -
119 JULY-AUGUST 2015 119La Foto the PHOTO a Cura Di Massimiliano Filosto
Anno XXI n° 119 (3/2015) - €3,00 - Poste Italiane S.p.A. - Sped. in Abb. Postale - D.L. 353/2003 (conv. in L. 27/02/2004 n.46) art. 1, comma 1, DCB filiale Bologna. J L U U L G Y L - A I O U - G A U G S O T S 2 T 0 O 1 2 5 0 1 5 Sommario EDITORIALE 5 Laudato sì: l’eco-Enciclica di Papa Francesco SICUREZZA 40 Non correte ma… non pagate a scatola chiusa NOTIZIE 6 Taraxagum, il primo pneumatico in gomma di tarassaco PENSA VERDE 41 Vacanze sostenibili con BarattoBB 6 Il biogas di Linköping AUTO NOVITÀ 41 Ripartiamo da Zero 7 La discoteca mobile. Nissan e-NV200 elettrico diventa PART e-VAN LIBRI 41 L’Italia del Biologico 7 La ‘Carbon Footprint’ di 52 trattori stradali Cargo Service MUSICA 42 Miatralvia: musica con la spazzatura 7 BlaBlaCar, quanto si rispramia con il Ride Sharing CINEMA 42 The Reach - Caccia all’uomo POLITICA 8 Partono in 671 Comuni gli incentivi per la trasformazione a GPL SPORT 42 Valentino: un casco per lanciare la sua ecosostenibilità e metano per auto e mezzi commerciali 43 LE PAGINE AZZURRE DEL GAS AUTO EVENTI 9 Ecorally 2015, vince ancora l’ecomobilità 16 Si continua a correre per l’ambiente 50 INCONTRIAMOCI A… dal 15 luglio al 27 ottobre 2015 GLOSSARIO AUTOMOBILISTICO LKS - MultiAir - Multilink - Park Assistant FIERE 18 Autopromotec 2015, 1.587 espositori e oltre 100mila visitatori 20 Gas per Auto… promotec IN PROVA 24 Giulietta GPL alla prova Ecorally INCENTIVI 28 Veicoli ecologici: contributi a privati e imprese AFTER MARKET 32 Guida per l’installazione di sistemi GPL e metano LUGLIO-AGOSTO 2015 ECOLISTINO 34 Caratteristiche e prezzi dei veicoli ecologici in Italia 119 JULY-AUGUST 2015 119La Foto THE PHOTO a cura di Massimiliano Filosto Per la prima volta un veicolo Diesel Dual Fuel corre nel campionato For the first time a Diesel Dual Fuel vehicle participates in the BRITCAR BRITCAR. -
Party Pieces to Find a Pathway Through It So That I Have Some Feeling for the Shape and the Climaxes
For most people, reaching the age of 60 is a signal to take two of the pieces had arrived - Henze’s intriguingly-titled things easy, to enjoy the benefits of free travel or take that Scorribanda pianistica, and Olicantus, a slow ragtime from world cruise you’d always promised yourself. But pianist George Benjamin, a composer whose music Crossley has Paul Crossley will spend his 60th birthday on 17 May long championed. All five commissions have their origins giving a recital in the Wigmore Hall. The first half of the in their composers’ orchestral output. Scorribanda recital comprises premieres of five new works pianistica, roughly translated as ‘pianistic raiding-party”, commissioned by Crossley and in the second half he plays plunders an earlier orchestral work by Henze which itself one of his party-pieces - Debussy’s Preludes Book 2. It is a raided material from an even earlier work. The title of very Salonen’s piece is Scheggia, literally ‘fragment or ‘chip’ (as in ‘chip off the old block). How does Crossley tackle a new piece once it has dropped on to the doormat? ‘I do what I always do. I hack my way through the jungle from beginning to end. I have Party pieces to find a pathway through it so that I have some feeling for the shape and the climaxes. Then I get down to details.’ Pianist Paul Crossley special birthday present to himself from a pianist Crossley considers himself very fortunate that his whose profile is perhaps not so high as it once was. playing career happened at the right time and concedes has commissioned five There have been three constants in Crossley’s pub- that it’s far harder for a young performer these days to lic pianistic life: the French repertoire and the music carve a niche. -
Children in Opera
Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls ................................................................................. -
Grade 7-8: the Arts Contemporary First Nations and Inuit Music: Powwow Step and Solo Throat Singing
ELEMENTARY LESSON GRADE 7-8: THE ARTS CONTEMPORARY FIRST NATIONS AND INUIT MUSIC: POWWOW STEP AND SOLO THROAT SINGING Purpose: Students will compare and contrast traditional and in a circle behind the men and sing an octave higher than the contemporary First Nations powwow music and Inuit throat men. singing. They will consider the cultural influences and significance of contemporary music by powwow step musicians: A Tribe Called Watch and listen: http://music.cbc.ca/#!/blogs/2012/7/Top-5- Red and solo throat singer Tanya Tagaq. songs-to-get-you-in-the-mood-for-the-powwow-trail (Note: Any of the five videos will work as an example. Instructional method(s): listening, comparing and contrasting, However, the third example is only audio and less traditional class discussion (students may work in small groups or as a class) in style. The fourth and fifth examples show how a female supports the music.) Estimated time: 60 minutes Ask students: Activity: a. Describe what you saw and heard. 1. Begin the lesson by writing the following quote on the front b. What were the instrument(s) used? board: “My people will sleep for 100 years, but when they c. How did singing compliment the instrument(s)? awake, it will be the artists who give them their spirit back.”— d. What was done in unison? Louis Riel, July 4, 1885 e. What was performed individually? f. Describe the tempo, rhythm, dynamic and pitch. 2. Ask students: a. Who is Louis Riel? 5. Now introduce students to the music of A Tribe Called Red. -
Kyle Gann, the Music of Conlon Nancarrow, the Music
Preface My first thanks must go to Stuart Smith, who got me started on this project and spent tremendous unrecompensed time reading and ofFering suggestions. 1 I profusely thank H. Wiley Hitchcock for his help, advice, and encouragement in this project as in so many other?. Trimpin became my comrade in Nancarrow scholarship, giving me pages and pages of helpful computerized charts over steins The music: general considerations German beer. Peter Garland, Sylvia Srmth, and Don Gillespie provided me with scores, James Tenney with the unpublished works and some helpful analytical advice. Charles Amirkhanian smoothed my way to a composer reputed to be difficult to approach. Eva Soltes, Helen Zimbler, WiUiam Duckworth, and Carlos Sandoval contributed valuable information. Doug Simmons provided expert editing advice. Penny Souster made the book possible. My wife Nancy Cook, Compared to the musical traditions of Africa, India, and Indonesia, European who became a “Nancarrow widow” the way some women become football wid classical music has always been rhythmically limited. As sOon as American com ows, accepted my idee fixe witfc humor and love. Yoko Seguira, Mrs Nancarrow, posers broke away firom Europe following World War I, they made an aggressive was a warm, funny, and helpful informant, and a gracious hostess. And Charles attempt to remedy this deficiency. They found themselves thwarted, however, Nancarrow, since departed, treated me to a defightful evening of reminiscence. first by the difficulty of notating extreme rhythmic complexity,-then by the greater Most of all I thank C)onlon Nancarrow for cooperating in every possible obstacle of getting performers to execute their rhythms acfcurately. -
Shadows in the Field Second Edition This Page Intentionally Left Blank Shadows in the Field
Shadows in the Field Second Edition This page intentionally left blank Shadows in the Field New Perspectives for Fieldwork in Ethnomusicology Second Edition Edited by Gregory Barz & Timothy J. Cooley 1 2008 1 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright # 2008 by Oxford University Press Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Shadows in the field : new perspectives for fieldwork in ethnomusicology / edited by Gregory Barz & Timothy J. Cooley. — 2nd ed. p. cm. Includes bibliographical references and index. ISBN 978-0-19-532495-2; 978-0-19-532496-9 (pbk.) 1. Ethnomusicology—Fieldwork. I. Barz, Gregory F., 1960– II. Cooley, Timothy J., 1962– ML3799.S5 2008 780.89—dc22 2008023530 135798642 Printed in the United States of America on acid-free paper bruno nettl Foreword Fieldworker’s Progress Shadows in the Field, in its first edition a varied collection of interesting, insightful essays about fieldwork, has now been significantly expanded and revised, becoming the first comprehensive book about fieldwork in ethnomusicology. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
John Cage's Entanglement with the Ideas Of
JOHN CAGE’S ENTANGLEMENT WITH THE IDEAS OF COOMARASWAMY Edward James Crooks PhD University of York Music July 2011 John Cage’s Entanglement with the Ideas of Coomaraswamy by Edward Crooks Abstract The American composer John Cage was famous for the expansiveness of his thought. In particular, his borrowings from ‘Oriental philosophy’ have directed the critical and popular reception of his works. But what is the reality of such claims? In the twenty years since his death, Cage scholars have started to discover the significant gap between Cage’s presentation of theories he claimed he borrowed from India, China, and Japan, and the presentation of the same theories in the sources he referenced. The present study delves into the circumstances and contexts of Cage’s Asian influences, specifically as related to Cage’s borrowings from the British-Ceylonese art historian and metaphysician Ananda K. Coomaraswamy. In addition, Cage’s friendship with the Jungian mythologist Joseph Campbell is detailed, as are Cage’s borrowings from the theories of Jung. Particular attention is paid to the conservative ideology integral to the theories of all three thinkers. After a new analysis of the life and work of Coomaraswamy, the investigation focuses on the metaphysics of Coomaraswamy’s philosophy of art. The phrase ‘art is the imitation of nature in her manner of operation’ opens the doors to a wide- ranging exploration of the mimesis of intelligible and sensible forms. Comparing Coomaraswamy’s ‘Traditional’ idealism to Cage’s radical epistemological realism demonstrates the extent of the lack of congruity between the two thinkers. In a second chapter on Coomaraswamy, the extent of the differences between Cage and Coomaraswamy are revealed through investigating their differing approaches to rasa , the Renaissance, tradition, ‘art and life’, and museums. -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period.