Mozart: Life, A/ 656 Pages/ Maynard Solomon
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THE SURVIVAL and MUTATION of Utoi
PHOENIX RENEWED: THE SURVIVAL AND MUTATION OF UTOi’IAN THOUGHT IN NORTH AMERICAN SCIENCE FICTION, 1965—1982 A DISSERTATION SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR TEE DEGREE OF DOCTOR OF PHILOSOPHY BY HODA MOUKHTAR ZAKI DEPARTMENT OF POLITICAL SCIENCE ATLANTA, GEORGIA DECEMBER 1984 ABS TRACT POLITICAL SCIENCE ZAKI, H01P4 MOURHIAR B.A. , American University in Cairo, 1971 N.A., Atlanta University, Atlanta, Georgia, 1974 Phoenix Renewed: The Survival and_Mutation_of Utopian Thought in ~urth American Science Fiction, 1965—1982 Adviser: Dr. Alex Hillingham The&is d~tei Decenber, 1984 This dissertation is concerned with the status of utoni en in rwdcra timas. As such it is concerned with a historic problem ir pci tial :hearv, i.e., how to visualize a perfect human community. Since the turn of the 20th century, we have seen a decline in utopian ~i tera.ture. A variety of commentators, including Mannhein: and Mumford, noted and decried this trend. It seemed ironic to those observers that utopia~s demise would occur when humanity was closest to realizing material abundance for all. My research evaluates this irony. The primary data of my work are drawn from the genre of science fiction. The new locus for utopian thought seems natural enough. Science fiction is a speculative activity and, in its emphasis on science and technology, concerns itself with an area of human activity that has been intimately connected with the idea of progress since the European Enlightenment. A number of scholars including Mumford, Sargent, Suvin, and Williams, have asserted that contemporary utopian thought could be found in science fiction. -
Danish String Quartet Frederik Øland, Violin Rune Tonsgaard Sørensen, Violin Asbjørn Nørgaard, Viola Fredrik Schøyen Sjölin, Cello
Sunday, February 28, 2016, 3pm Hertz Hall Danish String Quartet Frederik Øland, violin Rune Tonsgaard Sørensen, violin Asbjørn Nørgaard, viola Fredrik Schøyen Sjölin, cello PROGRAM Per NØRGÅRD (b. 1932) Quartetto Breve (1952) Leoš JANÁČEK (1854 –1928) String Quartet No. 1, “Kreutzer” (1923) Adagio; Con Moto Con Moto Con Moto; Vivo Con Moto INTERMISSION Ludwig van BEETHOVEN (1770 –1827) String Quartet No. 14 in C-sharp minor, Op. 131 (1825-1826) Adagio, ma non troppo e molto espressivo Allegro molto vivace Allegro moderato Andante, ma non troppo e molto cantabile Presto Adagio quasi un poco andante Allegro Cal Performances’ – season is sponsored by Wells Fargo. 15 PROGRAM NOTES String Quartet No. 1, “Quartetto Breve” very nature of the strings — has always had a PER NØRGÅRD (B. 1932) central place in my output, demonstrated by the string quartets, concertos with string Composed in 1952. soloist, chamber, and solo works. The interest dates back to my school years, when I was for - Per Nørgård, Denmark’s leading musical tunate to be able to compose for a cello-playing modernist, was born on July 13, 1932 in the schoolmate and to accompany him on the Copenhagen suburb of Gentofte, began study - piano. I discovered then the innumerable nu - ing piano when he was eight and composition ances of sound and playing varieties offered by a few years later, and took his professional just one bow, four strings and five fingers.” The training at the Copenhagen Conservatory as Quartet No. 1 is in two sections played without a student of Vagn Holmboe. After graduating pause, the first ( Lento, poco rubato ) spacious in 1955, he studied with Nadia Boulanger in and intensely expressive, the second ( Allegro Paris before returning to Denmark in 1958 to resoluto ) agitated and intricately conversational. -
Leopold and Wolfgang Mozart's View of the World
Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage. -
Alumni Update
Jazz, Classical, Opera, Gospel, Ballet, Tap, Modern, Hip-Hop, Concertos, Oratorio, Drama, Musical Theater, Film, Video, Set Design, Lighting, Sculpture, Painting, Watercolor, Pastels, Photography, Drawing, Jazz, Classical, Opera, Gospel, Ballet, Tap, Modern, Hip-Hop, Concertos, Oratorio, Drama, Musical Theater, Film, Video, Set Design, Lighting, Sculpture, Painting, Watercolor, Pastels, Photography, Drawing, Jazz, Classical, Opera, Gospel, Ballet, Tap, Modern, Hip-Hop, Concertos, Oratorio, Drama, Musical Theater, Film, Video, Set Design, Lighting, Sculpture, Painting, Watercolor, Pastels, Photography, Drawing, Jazz, Classical, Opera, Gospel, Ballet, Tap, Modern, Hip-Hop, Concertos, Oratorio, Drama, Musical Theater, Film, Video, Set Design, Lighting, Sculpture, Painting, Watercolor, Pastels, Photography, Drawing, Jazz, Classical, Opera, Gospel, Ballet, Tap, Modern, Hip-Hop, Concertos, Oratorio, Drama, Musical Theater, Film, Video, Set Design, Lighting, Sculpture, Painting, Watercolor, Pastels, Photography, Drawing, Jazz, Classical, Opera, Gospel, Ballet, Tap, Modern, Hip-Hop, Concertos, Oratorio, Drama, Musical Theater, Film, Video, Set Design, Lighting, Sculpture, Painting, Watercolor, Pastels, Photography, Drawing, Jazz, Classical, Opera, Gospel, Ballet, Tap, Modern, Hip-Hop, Concertos, Oratorio, Drama, Musical Theater, Film, Video, Setcreate Design, Lighting, Sculpture, Painting, Watercolor, Pastels, Photography, Drawing, Jazz, Classical, Opera, Gospel, Ballet, Tap, Modern, Hip-Hop, Concertos, Oratorio, Drama, Musical Theater, Film, -
WOLFGANG AMADEUS MOZART Serenade No
program notes WOLFGANG AMADEUS MOZART Serenade No. 9 in D Major, K. 320 “Posthorn” (1779) • Wolfgang Amadeus Mozart was born in Salzburg, Austria, on January 27, 1756, and died in Vienna, Austria, on December 5, 1791. Mozart completed his “Posthorn” Serenade on August 3, 1779, in Salzburg. The nickname is derived from the appearance of a post horn in the work’s penultimate movement. The post horn, a small circular brass instrument without valves, was originally used by postilions and mail-coachmen. Scholars differ as to the specific occasion for which Mozart wrote this work. Mozart’s early biographer, Franz Peter Niemetschek, claimed that the “Posthorn” Serenade was composed to celebrate the feast day of the Salzburg Archbishop, Hieronymous Colloredo. Maynard Solomon, in his biography Mozart: A Life (HarperCollins, New York, 1995), posits that given the date of composition, the “Posthorn” Serenade was probably used for graduation ceremonies at the Salzburg University. In any event, it is clear Mozart thought very highly of this composition. On March 23, 1783, Mozart offered a triumphant concert at the Vienna Burgtheater. As he proudly described to his father, “I need not tell you very much about the success of my concert, for no doubt you have already heard of it. Suffice it to say that the theater could not have been more crowded and that every box was full.” Among the members of the audience was Emperor Joseph II of Austria. The “Posthorn” Serenade is in seven movements. Tonight’s performance represents an abridged version featuring movements I, V, VI, and VII. The first opens with a stately, slow-tempo introduction (Adagio maestoso), resolving to the principal Allegro con spirito. -
DUEPPEN-DISSERTATION-2012.Pdf (2.279Mb)
© Copyright by Timothy M. Dueppen December 2012 THE TROMBONE AS SACRED SIGNIFIER IN THE OPERAS OF WOLFGANG AMADEUS MOZART _______________ A Dissertation Presented to The Faculty of the Moores School of Music University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Musical Arts _______________ By Timothy M. Dueppen December 2012 THE TROMBONE AS SACRED SIGNIFIER IN THE OPERAS OF WOLFGANG AMADEUS MOZART ____________________________________ Timothy M. Dueppen APPROVED: ____________________________________ Jeffrey Sposato, Ph.D. Committee Chair ____________________________________ Andrew Davis, Ph.D. ____________________________________ Noe Marmolejo ____________________________________ Brian Kauk ____________________________________ John W. Roberts, Ph.D. Dean, College of Liberal Arts and Social Sciences Department of English ii THE TROMBONE AS SACRED SIGNIFIER IN THE OPERAS OF WOLFGANG AMADEUS MOZART _______________ An Abstract of a Dissertation Presented to The Faculty of the Moores School of Music University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Musical Arts _______________ By Timothy M. Dueppen December 2012 iii Abstract The Trombone as Sacred Signifier in the Operas of Wolfgang Amadeus Mozart Timothy M. Dueppen The trombone was understood during the eighteenth century and earlier in Germany as an instrument with important sacred significance. This association developed because of its appearance in German translations of the Bible by Martin Luther and Catholic theologians and its presence in encyclopedias and treatises of the period. This, along with the trombone’s vast use in church music of the period, helped it to be understood as an instrument of sacred significance by the German musical public. It was this social understanding of the sacerdotal qualities of the trombone that propelled Mozart to use the instrument in his operas Idomeneo, Don Giovanni, and Die Zauberflöte to enhance some of the most important sacred elements of each work. -
Missa Solemnis
2017 2018 SEASON David Robertson, conductor Saturday, November 18, 2017 at 8:00PM Joélle Harvey, soprano Sunday, November 19, 2017 at 3:00PM Kelley O’Connor, mezzo-soprano Stuart Skelton, tenor Shenyang, bass-baritone St. Louis Symphony Chorus Amy Kaiser, director BEETHOVEN Mass in D major, op. 123, “Missa solemnis” (1823) (1770–1827) Kyrie Gloria Credo Sanctus Agnus Dei David Robertson, conductor Joélle Harvey, soprano Kelley O’Connor, mezzo-soprano Stuart Skelton, tenor Shenyang, bass-baritone St. Louis Symphony Chorus Amy Kaiser, director David Halen, violin (Sanctus) This program is performed without intermission. ACKNOWLEDGMENTS The 2017/2018 Classical Series is presented by World Wide Technology, The Steward Family Foundation, and Centene Charitable Foundation. These concerts are presented by the Thomas A. Kooyumjian Family Foundation. The concert of Saturday, November 18 is underwritten in part by a generous gift from Steve and Laura Savis. The concert of Sunday, November 19 is underwritten in part by a generous gift from Mr. and Mrs.* Robert H. Duesenberg. David Robertson is the Beofor Music Director and Conductor. Amy Kaiser is the AT&T Foundation Chair. Joélle Harvey is the Linda and Paul Lee Guest Artist. Kelley O’Connor is the Helen E. Nash, M.D. Guest Artist. Pre-Concert Conversations are sponsored by Washington University Physicians. The St. Louis Symphony Chorus is underwritten in part by the Richard E. Ashburner, Jr. Endowed Fund. *Deceased 23 BEETHOVEN’S MASS “FROM THE HEART” BY CHRISTOPHER H. GIBBS LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna TIMELINKS Mass in D major, op. -
Modernist Evaluative Criteria in the Reception
INFLUENCE, INNOVATION, AND STRUCTURE: MODERNIST EVALUATIVE CRITERIA IN THE RECEPTION HISTORIES OF CHARLES IVES AND JEAN SIBELIUS A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC by ANDREW HOWARD STOUT B.A., Northwest Nazarene University, 2008 M.M., Boise State University, 2011 Kansas City, Missouri 2016 ©2016 ANDREW HOWARD STOUT ALL RIGHTS RESERVED INFLUENCE, INNOVATION, AND STRUCTURE: MODERNIST EVALUATIVE CRITERIA IN THE RECEPTION HISTORIES OF CHARLES IVES AND JEAN SIBELIUS Andrew Howard Stout, Candidate for the Master of Music Degree University of Missouri-Kansas City, 2016 ABSTRACT In 1987, Maynard Solomon published an article titled “Charles Ives: Some Questions of Veracity,” which challenged the priority and probity of Charles Ives’s technical innovations and ignited a scholarly firestorm. Nearly twenty years later, John McGinness ruminated on the uproar, asking, “While unquestionably of historical importance, why, in our postmodern times, should dating and/or the addition of dissonance play a crucial role in the critical evaluation of Ives’s music?” McGinness continued by questioning the effects of what he called “Modernist Criticism” on Ives studies and concluded by problematizing its usefulness to evaluations of Ives’s music. This thesis continues the conversation that McGinness began. First, I broaden his discussion to include the reception history of Jean Sibelius and recent contributions to Sibelius studies, for throughout their respective reception histories, the musics of Ives and Sibelius have been particularly vulnerable to negative valuations based on modernist criticism. Next, I borrow Richard Taruskin’s definition of modernist criticism, which he iii describes as comprising three tenets: influence, innovation, and structure. -
Pulitzer Prize Winners and Finalists
WINNERS AND FINALISTS 1917 TO PRESENT TABLE OF CONTENTS Excerpts from the Plan of Award ..............................................................2 PULITZER PRIZES IN JOURNALISM Public Service ...........................................................................................6 Reporting ...............................................................................................24 Local Reporting .....................................................................................27 Local Reporting, Edition Time ..............................................................32 Local General or Spot News Reporting ..................................................33 General News Reporting ........................................................................36 Spot News Reporting ............................................................................38 Breaking News Reporting .....................................................................39 Local Reporting, No Edition Time .......................................................45 Local Investigative or Specialized Reporting .........................................47 Investigative Reporting ..........................................................................50 Explanatory Journalism .........................................................................61 Explanatory Reporting ...........................................................................64 Specialized Reporting .............................................................................70 -
Johann Christian Bach's Influence on Mozart's Developing Style Austin Bourdon
University of Richmond UR Scholarship Repository Honors Theses Student Research 4-1-2010 Johann Christian Bach's influence on Mozart's developing style Austin Bourdon Follow this and additional works at: http://scholarship.richmond.edu/honors-theses Recommended Citation Bourdon, Austin, "Johann Christian Bach's influence on Mozart's developing style" (2010). Honors Theses. Paper 167. This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Honors Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Johann Christian Bach’s Influence on Mozart’s Developing Style by Austin Bourdon Honors Thesis in Department of Music University of Richmond Richmond, VA Spring 2010 Advisor: Dr. Gene Anderson Bourdon 2 The methods by which great composers create their masterpieces often remain a mystery to modern scholars. There are essentially two approaches to determining what these methods might be: investigating a composer’s surviving drafts, sketches, and letters and analyzing their musical influences. The first approach can be very limiting, especially when applied to a composer such as Wolfgang Amadeus Mozart, who did not leave behind many musical sketches. Therefore, when studying Mozart’s compositional process, it is more useful to rely on the second method in which one traces his stylistic development to key musical figures. From these major influences, one can uncover how Mozart learned his craft and determine what musical elements he must have considered to be most important. Although Mozart experienced a wide range of influences throughout his life—he was known for quickly picking up various forms and styles of music—this paper will focus on one composer in particular: Johann Christian Bach. -
Beethoven and Handel 1
Beethoven and Handel 1 Beethoven and Handel: The Significance of a Borrowing Channan Willner Among the many reasons for our perpetual fascination with composers’ borrowings is the sense of secrecy the evoke. With few exceptions, borrowings are generally kept quiet by the composer and their discovery therefore requires a good deal of musical as well as musicological detective work.1 Schenkerian methodology, also occupied with hidden matters, would appear to be a suitable vehicle for such an endeavor, despite the serious danger of mixing apples and oranges its use poses: It is all too easy to mix levels and to look for figural borrowings, which occur near the surface, among the linear progressions that reside well below. The benefits of a reductive approach to borrowings reside, rather, in a heightened and more acute sensitivity to the multiplicity of tonal and durational relationships a passage (in either a borrowing or its source) can realize at different levels of structure.2 1 I wish to thank Maynard Solomon, Heather Platt, and Frank Samarotto for their helpful comments on an earlier version of this paper. The earlier version was presented at the conference, Austria 996-1996: Music in a Changing Society, which was held in Ottawa during January 1996 (and was also known as “The Millennium Conference”). Plans to publish the Conference proceedings have been abandoned by the Editor, Walter Kreyszig. 2 Among the best-known applications of Schenkerian procedures to the study of borrowings are Oster 1947/1983, pp. 407-29 (1947), and pp. 189-207 (1983); and Schachter 1991, pp. 227-51. -
Johann Christian Bach's Influence on Mozart's Developing Style Austin Bourdon
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Richmond University of Richmond UR Scholarship Repository Honors Theses Student Research 4-1-2010 Johann Christian Bach's influence on Mozart's developing style Austin Bourdon Follow this and additional works at: http://scholarship.richmond.edu/honors-theses Recommended Citation Bourdon, Austin, "Johann Christian Bach's influence on Mozart's developing style" (2010). Honors Theses. Paper 167. This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Honors Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Johann Christian Bach’s Influence on Mozart’s Developing Style by Austin Bourdon Honors Thesis in Department of Music University of Richmond Richmond, VA Spring 2010 Advisor: Dr. Gene Anderson Bourdon 2 The methods by which great composers create their masterpieces often remain a mystery to modern scholars. There are essentially two approaches to determining what these methods might be: investigating a composer’s surviving drafts, sketches, and letters and analyzing their musical influences. The first approach can be very limiting, especially when applied to a composer such as Wolfgang Amadeus Mozart, who did not leave behind many musical sketches. Therefore, when studying Mozart’s compositional process, it is more useful to rely on the second method in which one traces his stylistic development to key musical figures. From these major influences, one can uncover how Mozart learned his craft and determine what musical elements he must have considered to be most important.