DOCSLIB.ORG

School Catalog, the Academy, 1974

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Published by Philadelphia Musical Academy, 1974 313 South Broad Street Philadelphia, Pennsylvania 19107 Preface The Philadelphia Musical Academy Catalogue is in four sections —each of which is used also separately as a brochure for its respective area. In the front of each section there is an alphabetical Table of Contents for that section. For each section, an identifying symbol is used. The symbol for this section ^J is aPorrectus; a neume from Gregorian Chant notation. Table of Contents Academy Facilities 4 Administration and Staff — listed it Biographical Notes — Faculty and Administration 13 Biographical Notes — Board of Directors 23 Board of Directors — listed 12 Electronic Music Center 5 Faculty — listed by area of specialty 8 History of the Academy 3 Map of Center City Cultural Institutions 26 Objectives of the Academy 2 Preparatory and Extension Division 5 Preparatory and Extension Division Faculty 10 Student Life in Philadelphia 25 Student Services — Placement Office, Concerts & Lectures, Counseling Services 30 N 2 aS^ Objectives of the A properly focused study of music reveals the subject both as a profession Academy andadiscipline. It develops skill, while fostering understanding; it provides information and preserves meaning; it supplies facts and seeks knowledge. Such a study insures respectforthe legacy of tradition and yet fosters the desire for the adventure of discovery. Two ingredients are essential to an institution dedicated to these aims: A professionally active faculty capable of serving as mentor and exemplar and a program of study to which the faculty is totally committed. These are abundantly represented at the Philadelphia Musical Academy. This is not to say that professional development is the only goal of the Academy. PMA is not a conservatory, but a college of music, and as such accepts the obi igation to provide for its students experiences in those areas of learning which promote personal growth and social and scientific awareness. The Academy strives to produce musically educated citizens. History The Philadelphia Musical Academy, founded in 1870, operates under a For charter granted in 1915 by the Commonwealth of Pennsylvania. 80 orientation years after its founding, the Academy's educational was comparable to that of the traditional European Conservatory. In 1950, its collegiate though still a proprietary institution, the Academy established program and became a four-year, degree-granting school. with the In 1962, the Philadelphia Musical Academy amalgamated Philadelphia Conservatory of Music, an institution of similar character and purpose. This combination of institutions retained the Academy's name and educational pace. The Academy's direction during the following years was to move toward public control. This was accomplished through the establishment of a Board of Directors who assumed full responsibility for the Academy's financial and educational affairs. of Concurrent with a change of administration in 1 966 and a strengthening the Board of Directors, the Academy redefined its goals and objectives. The new goals were arrived at after a year of study and planning, carried out by members of the new Administration, Faculty, Board of Directors, and consultants employed specifically for this task. As then stated, the Academy's goals to be accomplished in the five-year period 1967 through 1972 were: 1,To attain full regional and professional accreditation. 2. To acquire an adequate facility. 3. To strengthen the school's library holdings. leading to the 4. To institute new undergraduate majors and a program Master's degree. aid. 5. To maintain enrollment growth and expand financial fringe-benefit 6. To strengthen faculty and provide rank, tenure and programs. 7. To increase community service and involvement. constituency that each of its It was, of course, gratifying to the Academy's stated goals was reached within the prescribed period of time. N 4 The Academy The Philadelphia Musical Academy is located in a recently acquired Facilities building in Philadelphia's Center City. The six-story building, one block south of the historical Academy ot Music, houses adequate facilities for the student body of 300—classrooms, practice rooms, studios, administrative and faculty offices, electronic piano laboratory, T.V. studio, music education materials center, electronic music laboratory, student lounge, music library, and auditorium-recital hall. In addition, the Academy has purchased the former Shubert Theatre. This structure, adjacent to the Academy of Music, will be the centerof the school activities when renovation is complete. It will house new practice rooms, recording studios, classrooms, rehearsal rooms and administrative offices, as well as a fully outfitted concert/opera theater seating approximately 1900. The Academy's music library contains an extensive collection of musical scores and parts, a catalog of more than 1 0,250 texts on musical subjects, and a record and tape collection of more than 6,500 separate titles. The library also maintains a newly equipped listening center where both tape recorders and phonographs are available for individual study. In addition, approximately 150 periodicals in English are under subscription. Among the new additions to the Academy's resources are a fully equipped electronic music laboratory, an eleven-station electronic piano laboratory for use by piano students in class instruction and for individual practice, an educational materials centerthat houses a complete selection of music and texts related to public school music, and an audio-visual centerthat includes a closed circuit videotape complex as well as a full range of audio-visual equipment. Practice facilities include fifty pianos, a small pipe organ, a two-manual Challis Harpsichord, two harps, two complete sets of percussion instruments, and more than one hundred orchestral instruments which may be used on a loan basis for rehearsals and instruction. .3 !S lit 5 £is Electronic Music A fully equipped electronic music center is located at PMA. Established as Center the result of a Federal grant, the studio includes professional tape recorders, speakers and other reproduction equipment along with a console of oscillators, filters, whitenoise generators, a reverberation unit, and other controlling instruments designed expressly for the Academy by R. A. Moog. The PMA Electronic Music Center is used primarily for composition and many works have been produced by both students and faculty members. As facilities have been expanded, the Center has become a complex for composing, recording, copying and editing music on tape. The studio facilities are available for student use upon application and recommendation of major teachers. The studio is directed by Andrew Rudin, Assistant Professor of Composition and Theory. Preparatory and The Preparatory and Adult Extension Division provides music instruction of Extension to begin or continue Division a non-degree nature for students of any age who wish serious study. A number of instructors are members of the college faculty. Instruction is available in all of the major applied fields and theory. The New Studies Center presents a broad selection of adult evening classes in the contemporary arts, humanities, and social sciences. Information may be obtained by calling the Academy: 215-735-9635. n £ a a. (O.S-o .= 2 2. ,3., 4. Internationally- renowned opera star (and now PMA Faculty Member) Licia Albanese works with student Maria DiPalma Elsa Hilger, Teacher of Violoncello, instructs student Leon Gibson while next student, Norman Johns, observes. .5 ISa > "3 "5 E u u 9 s 2 * C 3 u N Q.S"? Faculty Brass Electronic Music • Kendall Betts (French Horn) Andrew Rudin • Tyrone Breuninger (Trombone) Michael White Joseph DeAngelis (French Horn) Roger DeLillo (Trombone) Ensembles • Glenn Dodson (Trombone) Theodore Antoniou (New Music) • Robert Harper (Trombone) Michael Bookspan (Percussion) • Samuel Krauss (Trumpet) Norman Carol (Chamber Music) • Paul Krzywicki (Tuba) Richard Castiglione (Symphonic Wind) Mark H. Lawrence (Trombone) Charles Castleman (Chamber Music) Anthony Marchione (Trumpet) Robert DiNardo (Classical Guitar) Michael Natale (Trumpet) Stevens Hewitt (Wind Chamber) • M. Dee Stewart (Tuba) Lawrence Hoenig (Chorus) Carlton Lake (Boys Choir) Classical Guitar Edna Phillips (Harp) Robert DiNardo Peter Segal (Classical Guitar) Peter Segal William Smith (Orchestra) Composition, Theory, Evan Solot (Jazz) Music History and Literature Philip Travaline (Concert Band) James Amadie Vincent Trombetta (Saxophone) Theodore Anton iou Karen Turtle (Chamber Music) Joseph Castaldo Donald Chittum —Coordinator General Studies Lilburn Dunlap William Ashbrook Wilbert D. Jerome Martha Breiden Kent Christensen Coordinator —Director of Graduate Studies — Joan Lynch Jan Krzywicki Elizabeth McDowell Anthony Mecoli Gabriela Roepke Clement C. Petri I lo Carla Weinberg —Coordinator, Musicianship Courses Andrew Rudin Harp Edna Phil ips Evan So lot Daniel Webster Michael White Conducting Richard Castiglione Lawrence Hoenig •• William Smith • Member, Philadelphia Orchestra • • Assistant Conductor. Philadelphia Orchestra Keyboard Instruments Strings James Amadie (Piano) Edward Arian (Double Bass) Elizabeth Boggs (Harpsichord) • • Anthony Bianco (Double Bass) Allison Drake (Piano) • Norman Carol (Violin) Robert Elmore (Organ) Charles Castleman (Violin) Frances Fanelli (Piano) Heidi Castleman (Viola) Donn-Alexandre Feder (Piano) • Neil Courtney (Double Bass) Florenza Levengood (Piano)
Recommended publications
  • 2019 Round Top Music Festival

    2019 Round Top Music Festival

    James Dick, Founder & Artistic Director 2019 Round Top Music Festival ROUND TOP FESTIVAL INSTITUTE Bravo! We salute those who have provided generous gifts of $10,000 or more during the past year. These gifts reflect donations received as of May 19, 2019. ROUND TOP FESTIVAL INSTITUTE 49th SEASON PArtNER THE BURDINE JOHNSON FOUNDATION HERITAGE CIrcLE H-E-B, L .P. FOUNDERS The Brown Foundation Inc. The Clayton Fund The Estate of Norma Mary Webb BENEFACTORS The Mr. and Mrs. Joe W. Bratcher, Jr. Foundation James C. Dick Mark and Lee Ann Elvig Robert J. Kleberg, Jr. and Helen C. Kleberg Foundation Richard R. Royall V Rose P. VanArsdel SUSTAINERS Blue Bell Creameries, L.P. William, Helen and Georgina Hudspeth Nancy Dewell Braus Luther King Capital Management The Faith P. and Charles L. Bybee Foundation Paula and Kenneth Moerbe Malinda Croan Anna and Gene Oeding Mandy Dealey and Michael Kentor The Gilbert and Thyra Plass Arts Foundation Dickson-Allen Foundation Myra Stafford Pryor Charitable Trust June R. Dossat Dr. and Mrs. Rolland C. Reynolds and Yvonne Reynolds Dede Duson Jim Roy and Rex Watson Marilyn T. Gaddis Ph.D. and George C. Carruthers Tod and Paul Schenck Ann and Gordon Getty Foundation Texas Commission on the Arts Alice Taylor Gray Foundation Larry A. Uhlig George F. Henry Betty and Lloyd Van Horn Felicia and Craig Hester Lola Wright Foundation Joan and David Hilgers Industry State Bank • Fayetteville Bank • First National Bank of Bellville • Bank of Brenham • First National Bank of Shiner ® Bravo! Welcome to the 49th Round Top Music Festival ROUND TOP FESTIVAL INSTITUTE The sole endeavor of The James Dick Foundation for the Performing Arts To everything There is a season And a time to every purpose, under heaven A time to be born, a time to die A time to plant, a time to reap A time to laugh, a time to weep This season at Festival Hill has been an especially sad one with the loss of three of our beloved friends and family.
  • Everything Essential

    Everything Essential

    Everythi ng Essen tial HOW A SMALL CONSERVATORY BECAME AN INCUBATOR FOR GREAT AMERICAN QUARTET PLAYERS BY MATTHEW BARKER 10 OVer tONeS Fall 2014 “There’s something about the quartet form. albert einstein once Felix Galimir “had the best said, ‘everything should be as simple as possible, but not simpler.’ that’s the essence of the string quartet,” says arnold Steinhardt, longtime first violinist of the Guarneri Quartet. ears I’ve been around and “It has everything that is essential for great music.” the best way to get students From Haydn, Mozart, Beethoven, and Schubert through the romantics, the Second Viennese School, Debussy, ravel, Bartók, the avant-garde, and up to the present, the leading so immersed in the act of composers of each generation reserved their most intimate expression and genius for that basic ensemble of two violins, a viola, and a cello. music making,” says Steven Over the past century america’s great music schools have placed an increasing emphasis tenenbom. “He was old on the highly specialized and rigorous discipline of quartet playing. among them, Curtis holds a special place despite its small size. In the last several decades alone, among the world and new world.” majority of important touring quartets in america at least one chair—and in some cases four—has been filled by a Curtis-trained musician. (Mr. Steinhardt, also a longtime member of the Curtis faculty, is one.) looking back, the current golden age of string quartets can be traced to a mission statement issued almost 90 years ago by early Curtis director Josef Hofmann: “to hand down through contemporary masters the great traditions of the past; to teach students to build on this heritage for the future.” Mary louise Curtis Bok created a haven for both teachers and students to immerse themselves in music at the highest levels without financial burden.
  • 2016 Program Booklet

    2016 Program Booklet

    Rebecca Penneys Piano Festival Fourth Year July 12 – 30, 2016 University of South Florida, School of Music 4202 East Fowler Avenue, Tampa, FL The family of Steinway pianos at USF was made possible by the kind assistance of the Music Gallery in Clearwater, Florida Rebecca Penneys Ray Gottlieb, O.D., Ph.D President & Artistic Director Vice President Rebecca Penneys Friends of Piano wishes to give special thanks to: The University of South Florida for such warm hospitality, USF administration and staff for wonderful support and assistance, Glenn Suyker, Notable Works Inc., for piano tuning and maintenance, Christy Sallee and Emily Macias, for photos and video of each special moment, and All the devoted piano lovers, volunteers, and donors who make RPPF possible. The Rebecca Penneys Piano Festival is tuition-free for all students. It is supported entirely by charitable tax-deductible gifts made to Rebecca Penneys Friends of Piano Incorporated, a non-profit 501(c)(3). Your gifts build our future. Donate on-line: http://rebeccapenneyspianofestival.org/ Mail a check: Rebecca Penneys Friends of Piano P.O. Box 66054 St Pete Beach, Florida 33736 Become an RPPF volunteer, partner, or sponsor Email: [email protected] 2 FACULTY PHOTOS Seán Duggan Tannis Gibson Christopher Eunmi Ko Harding Yong Hi Moon Roberta Rust Thomas Omri Shimron Schumacher D mitri Shteinberg Richard Shuster Mayron Tsong Blanca Uribe Benjamin Warsaw Tabitha Columbare Yueun Kim Kevin Wu Head Coordinator Assistant Assistant 3 STUDENT PHOTOS (CONTINUED ON P. 51) Rolando Mijung Hannah Matthew Alejandro An Bossner Calderon Haewon David Natalie David Cho Cordóba-Hernández Doughty Furney David Oksana Noah Hsiu-Jung Gatchel Germain Hardaway Hou Jingning Minhee Jinsung Jason Renny Huang Kang Kim Kim Ko 4 CALENDAR OF EVENTS University of South Florida – School of Music Concerts and Masterclasses are FREE and open to the public Donations accepted at the door Festival Soirée Concerts – Barness Recital Hall, see p.
  • High-Fidelity-1955-Nov.Pdf

    High-Fidelity-1955-Nov.Pdf

    November 60 cents SIBELIUS AT 90 by Gerald Abraham A SIBELIUS DISCOGRAPHY by Paul Affelder www.americanradiohistory.com FOR FINE SOUND ALL AROUND Bob Fine, of gt/JZe lwtCL ., has standardized on C. Robert Fine, President, and Al Mian, Chief Mixer, at master con- trol console of Fine Sound, Inc., 711 Fifth Ave., New York City. because "No other sound recording the finest magnetic recording tape media hare been found to meet our exact - you can buy - known the world over for its outstanding performance ing'requirements for consistent, uniform and fidelity of reproduction. Now avail- quality." able on 1/2-mil, 1 -mil and 11/2-mil polyester film base, as well as standard plastic base. In professional circles Bob Fine is a name to reckon auaaaa:.cs 'exceed the most with. His studio, one of the country's largest and exacting requirements for highest quality professional recordings. Available in sizes best equipped, cuts the masters for over half the and types for every disc recording applica- records released each year by independent record lion. manufacturers. Movies distributed throughout the magnetically coated world, filmed TV broadcasts, transcribed radio on standard motion picture film base, broadcasts, and advertising transcriptions are re- provides highest quality synchronized re- corded here at Fine Sound, Inc., on Audio products. cordings for motion picture and TV sound tracks. Every inch of tape used here is Audiotape. Every disc cut is an Audiodisc. And now, Fine Sound is To get the most out of your sound recordings, now standardizing on Audiofilm. That's proof of the and as long as you keep them, be sure to put them consistent, uniform quality of all Audio products: on Audiotape, Audiodiscs or Audiofilm.
  • Recital Programs 1954-55; 1955-56; 1956-57

    Recital Programs 1954-55; 1955-56; 1956-57

    THE CURTIS INSTITUTE OF MUSIC CURTIS HALL, THIRTY-FIRST SEASON — 1954.55 GRADUATION RECITAL BY MICHAEL TREE, Violinist Student of Mr. Zimbalist Vladimir Sokoloff at the Piano TUESDAY AFTERNOON, NOVEMBER 16, 1954 AT 5:15 O'CLOCK PROGRAM I Ciaccona Tommaso Antonio Vitali II Sonata in B flat major (K.378) Wolfgang Amadeus Mozart Allegro moderate Andantino eostenuto e cantabile Rondo : Allegro III Concerto Aram Khachaturian Allegro con fermeEza Andante eoetenuto Allegro vivace IV Fantasia appassionata Henri Vieuxtemps V Sarasateana Efrem Zimbalist Tango Playera Habanera Polo Malagnefia Zapateado steinway piano THE CURTIS INSTITUTE OF MUSIC CUETIS HAXL, THIETY -FIRST SEASON - 195^-55 RECITAL OF MUSIC FOR THE HARP By Students of Mr Salzedo Monday Afternoon, November 22, 195^ at 5^15 o'clock PROGRAM I Sonata in C minor GIOVAMI-BATTISTA PESCETTI 1704-1766 Allegro vigoroso Andantino espressivo Presto " Prelude in C (1913 ) • • -SERGE PROKOFIEV 1891-1953 NADIA BERKEY^^ II Five Poetical Studies (1918) CARLOS SALZEDO Flight Mirage Idyllic Poem Inquietude Communion PHYLLIS ENSHER III . The Harmonious Blacksmith GEORG FRIEDRICH HAHIEL 1685-1759 Scintillation (1936) CARLOS SALZEDO PEGGY SCEUMACKER Lyon & Healy Harps **Did not play because of sore finger THE CURTIS INSTITUTE OF MUSIC CURTIS HALL. THIRTY-FIRST SEASON — 1954-55 FACULTY RECITAL BY MR MIECZYSLAW HORSZO^TSKI TVE5DAY AFTERNOON. NOVEMBER 30. 19S4 AT 5:15 OCLOCK BEETHOVEN PROGRAM Sonata in D major. Opus 28 Allegro Andante Scherzo : Alleero viTace Rondo : Allegro ma non troppo n Sis \ ariations on the duet AeZ cor piii non mi sento (Tvom Paiiiello's opera La .Vo'.inarci) HI Rondo a capriccio in G major.
  • View PDF Online

    View PDF Online

    MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951.
  • Program Notes | Berstein's Age of Anxiety

    Program Notes | Berstein's Age of Anxiety

    27 Season 2017-2018 Friday, March 16, at 8:00 Saturday, March 17, at 8:00 The Philadelphia Orchestra Sunday, March 18, at 2:00 Yannick Nézet-Séguin Conductor Jean-Yves Thibaudet Piano Bernstein Symphony No. 2 for Piano and Orchestra (“The Age of Anxiety”) (after W.H. Auden) Part I: a. The Prologue— b. The Seven Ages (Variations 1-7)— c. The Seven Stages (Variations 8-14) Part II: a. The Dirge— b. The Masque— c. The Epilogue Intermission Schumann Symphony No. 4 in D minor, Op. 120 I. Ziemlich langsam—Lebhaft— II. Romanze: Ziemlich langsam— III. Scherzo: Lebhaft— IV. Langsam—Lebhaft—Schneller—Presto Strauss Don Juan, Op. 20 This program runs approximately 1 hour, 55 minutes. The Bernstein Centennial Celebration in its entirety is made possible in part by the generous support of the Presser Foundation. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 28 Please join us following the March 16 and 17 concerts for a free Organ Postlude with Peter Richard Conte. Schumann from Six Studies in Canonic Form, Op. 56: No. 4 in D-flat major No. 3 in F minor R. Strauss/transcr. Conte “Moonlight Music,” from Capriccio, Op. 85 Sullivan/transcr. Conte Overture to The Yeoman of the Guard Lemare Andantino No. 2 in D-flat major Please join us following the March 18 concert for a free Chamber Postlude featuring members of The Philadelphia Orchestra and special guest Pierre Tourville.
  • NIEWEG Chart: Harp with Strings

    NIEWEG Chart: Harp with Strings

    NIEWEG Chart: Harp with Strings A non-exhaustive recommended list of 1. Harp solo with string orchestra or string ensemble 2. String orchestra including Harp Details from Daniels Orchestral Music Online https://daniels-orchestral.com/other-resources/subscription-levels/ and research by C. F. Nieweg. For current publisher contacts see Daniels Orchestral Music Online Publisher catalog listings are not consistent as Score may refer to the Conductor Full Score or to the Solo Harp part. Many publishers now use ZINFONIA to supply rental parts. Conductors and Librarians need to activate an account with them. https://www.zinfonia.com/ Additions and corrections to this Chart are welcome: Proofer1 (at) comcast (dot) com ========================= 1. Harp Solo with Strings Adamo, Mark (b Philadelphia, 1962). American composer of Italian descent Regina coeli: from Four angels - arranged from his Concerto for Harp and Orchestra Solo Harp and string quintet <2013> 8' Score (11 pp.) + 6 parts; 31 cm Pub: Schirmer - Aho, Kalevi (b Forssa, FI, 9 Mar 1949) Finnish Mearra, chamber concerto for harp and 13 strings (43321) <2016> 20' Pub: Fennica Gehrman - Alwyn, William (b Northampton, UK, 7 Nov 1905; d Southwold, UK, 11 Sept 1985). English Lyra angelica <1954> Solo Harp, str I. "I looke for angels' songs, and heare Him crie" II. "Ah! who was He such pretious perills found?" III. "And yet, how can I heare Thee singing goe?" IV. "How can such joy as this want words to speake?" Pub: Lengnick - Åm, Magnar (b. Trondheim, NO, 9 April 1952) Gratia <1994-Rev. 1.8.96> ca. 10' Harp and strings Commissioned: Willy Postma (b Amsterdam), first performed with her as a soloist at the Sixth World Harp Congress in Tacoma, WA, USA, 1996 http://www.magnaram.com/ Composer contact: magnar (at) magnaram (dot) com 1 score (22 pp) ; 30 cm + 1 part (9 pp) ; 37 cm Pub: Oslo: Norsk Musikinformasion ©1996 YouTube: https://www.youtube.com/watch?v=_ViQow_o8fU - Bax, Arnold (b Streatham, London, UK, 8 Nov 1883; d Cork, IR, 3 Oct 1953).
  • The Legacy of Mason Jones: a Study of His Pedagogical and Musical Philosophies

    The Legacy of Mason Jones: a Study of His Pedagogical and Musical Philosophies

    ABSTRACT Title of Dissertation: THE LEGACY OF MASON JONES: A STUDY OF HIS PEDAGOGICAL AND MUSICAL PHILOSOPHIES Michael Richard Fries, Doctor of Musical Arts in Horn Performance, 2019 Dissertation directed by: Professor of Horn Gregory Miller, School of Music, Wind and Percussion Division The purpose of this study is to provide insight into the pedagogical and musical philosophies of horn player Mason Jones. Through his many years of performing and teaching in world-class institutions, Mason Jones influenced a generation of horn players who have themselves become world-class performers and teachers. With the passing of Mason Jones in February of 2009, along with the passing of many of his contemporaries and students, there is a growing urgency to document this knowledge before it is lost. As much of this knowledge has been passed down orally, through lessons and masterclasses, this study was conducted by interviewing family members, students, and colleagues of Mr. Jones in order to gain a deeper understanding of his approach to teaching and his approach to musical performance. Transcriptions of these interviews are included in order to preserve the accuracy of the first-hand accounts. Additionally, stories and information about Mason Jones’ career have been included in order to provide a documented history of his contributions to the development of horn playing in North America. THE LEGACY OF MASON JONES: A STUDY OF HIS PEDAGOGICAL AND MUSICAL PHILOSOPHIES by Michael Richard Fries Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Horn Performance 2019 Advisory Committee: Professor Gregory Miller, Chair Dr.
  • The Los Angeles Academy of Vocal Arts

    The Los Angeles Academy of Vocal Arts

    University of Central Florida STARS Harrison "Buzz" Price Papers Digital Collections 6-7-1982 Application for Grant: The Los Angeles Academy of Vocal Arts Harrison Price Company Part of the Tourism and Travel Commons Find similar works at: https://stars.library.ucf.edu/buzzprice University of Central Florida Libraries http://library.ucf.edu This Report is brought to you for free and open access by the Digital Collections at STARS. It has been accepted for inclusion in Harrison "Buzz" Price Papers by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Harrison Price Company, "Application for Grant: The Los Angeles Academy of Vocal Arts" (1982). Harrison "Buzz" Price Papers. 121. https://stars.library.ucf.edu/buzzprice/121 I I I l I I I APPLICATION FOR GRANT Prepared for : I · Th e Los An geles Academy of Vocal Arts I June 7 , 1982 I I I I I I I I I I I I HARRISON PRICE COMPANY I June 7, 1982 I Mr. Daniel Selznick Louis B. Mayer Foundation 9441 Wilshire Boulevard I Beverly Hills, CA 90212 I Dear Mr . Selznick: The purpose of this letter is to submit to the Louis B. Mayer Fo undation an application for a planning grant for and I on behalf of the Los Angeles Academy of Vocal Arts. The Lo s Angeles Academy of Vocal Arts is a proposed teaching institution formed under the leadership and direction of Mr. I Seth Riggs. Its program will offer a comprehensive and intensive instruction for a full time enrollment of 20 singers with recognized talent and professional potential .
  • The Concerts at Lewisohn Stadium, 1922-1964

    The Concerts at Lewisohn Stadium, 1922-1964

    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 Music for the (American) People: The Concerts at Lewisohn Stadium, 1922-1964 Jonathan Stern The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2239 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC FOR THE (AMERICAN) PEOPLE: THE CONCERTS AT LEWISOHN STADIUM, 1922-1964 by JONATHAN STERN VOLUME I A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2009 ©2009 JONATHAN STERN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy. Professor Ora Frishberg Saloman Date Chair of Examining Committee Professor David Olan Date Executive Officer Professor Stephen Blum Professor John Graziano Professor Bruce Saylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC FOR THE (AMERICAN) PEOPLE: THE LEWISOHN STADIUM CONCERTS, 1922-1964 by Jonathan Stern Adviser: Professor John Graziano Not long after construction began for an athletic field at City College of New York, school officials conceived the idea of that same field serving as an outdoor concert hall during the summer months. The result, Lewisohn Stadium, named after its principal benefactor, Adolph Lewisohn, and modeled much along the lines of an ancient Roman coliseum, became that and much more.
  • In and out of the Mainstream &gt; Opera News &gt; the Met Opera Guild

    In and out of the Mainstream > Opera News > the Met Opera Guild

    In and Out of the Mainstream > Opera News > The Met Opera ... http://www.operanews.com/Opera_News_Magazine/2010/2/Fea... Features February 2010 — Vol. 74, No. 8 (http://www.operanews.org/Opera_News_Magazine/2010/2 /ITALIAN_MASTER__RICCARDO_MUTI_CONDUCTS_THE_MET_PREMIERE_OF_ATTILA.html) In and Out of the Mainstream BARRY SINGER looks at the careers of Samuel Barber and William Grant Still, two composers whose work reflected the ever-changing path of twentieth-century American music. William Grant Still and Samuel Barber Samuel Barber's debut opera, Vanessa, followed William Grant The essence of Still's Still's debut opera, Troubled Island, by less than a decade. Both were output resided in jazz and hard-won labors of love that each composer initiated without a the blues. Barber had commission and ultimately brought to fruition on the strength of his little use for either. own tenacity. Both operas were hits with their opening-night audiences - Vanessa at the Met, Troubled Island at New York City Opera's then-City Center home. Both, nonetheless, soon disappeared 1 of 8 1/9/12 12:28 PM In and Out of the Mainstream > Opera News > The Met Opera ... http://www.operanews.com/Opera_News_Magazine/2010/2/Fea... from the active repertory. In the 1990s, Vanessa would be restored to a respected place in opera, a rebirth that Barber did not live to witness. For Still's Troubled Island, though, resurrection has never really come. As the centennial of Barber's birth approaches, it is intriguing to view him through the contrasting prism of William Grant Still. In many senses, no American composer of the twentieth century contrasts with Barber more.