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James Douglas Jr
M EDICAL M ILESTONES $5 Quebec HeritageVOL 3, NO. 10 JULY-AUGUST 2006 News James Douglas Jr. Anatomy of an eclectic mind Immortal Melody A tribute to Dr. James Robert Adams Beating the Barriers Canadian cardiology pioneer Maude Abbott Quebec CONTENT HeritageNews EDITOR CHARLES BURY PRODUCTION & DESIGN DAN PINESE Pesident’s Message 3 Leaving Bedlam Rod MacLeod PUBLISHER Letters 4 THE QUEBEC ANGLOPHONE HERITAGE NETWORK TimeLines 5 400-257 QUEEN STREET Here’s to history’s schoolmarms Dan Pinese SHERBROOKE (LENNOXVILLE) Memory lapses Dan Pinese QUEBEC Celtic cross on Grosse-Ile Marianna O’Gallagher J1M 1K7 Ste. Agathe, Sarnac Lake rekindle tradition Joseph Graham PHONE 1-877-964-0409 Anatomy of an Eclectic Mind 10 (819) 564-9595 The life and times of James Douglas Jr. Patrick Donovan FAX Dr. E.D. Worthington 14 564-6872 An early Quebec anaesthetist Charles Bury CORRESPONDENCE Immortal Melody 16 [email protected] James Robert Adams, music and medicine Joseph Graham WEBSITE Beating the Barriers 19 WWW.QAHN.ORG The legacy of Maude Abbott Dan Pinese The Unsung Genius 20 Reginald Fessenden Terry Skeats PRESIDENT St. Columban 24 RODERICK MACLEOD An Irish settlement remembered at last Sandra Stock EXECUTIVE DIRECTOR Return to Hear 26 DWANE WILKIN Reading oral history Dan Pinese HERITAGE PORTAL COORDINATOR MATHEW FARFAN Book Reviews 27 OFFICE MANAGER The Scots of Montreal KATHY TEASDALE America Steppin out Quebec Heritage Magazine is Photo Essay 29 produced on a bi-monthly basis by the Old-fashioned day Jacqueline Hyman Quebec Anglophone Heritage Network (QAHN) with the support of The Department of Canadian Heritage and HindSight 30 Quebec’s Ministere de la Culture et A Progress of Germs Dwane Wilkin des Communications. -
Baltimore Symphony Orchestra Announces 2019 New Music Festival
Media contacts Linda Moxley, VP of Marketing & Communications 410.783.8020 [email protected] Devon Maloney, Director of Communications 410.783.8071 [email protected] For Immediate Release Baltimore Symphony Orchestra Announces 2019 New Music Festival Baltimore (April 18, 2019) Under the leadership of Music Director Marin Alsop, the Baltimore Symphony Orchestra (BSO) announces the 2019 New Music Festival. Launched by Alsop and the BSO in 2017, the New Music Festival brings contemporary classical music to Baltimore from June 19-22. The 2019 New Music Festival celebrates women composers ahead of the BSO’s 2019-20 season, which highlights women in music in conjunction with the 100th anniversary of women’s suffrage in the U.S. Performances include the Baltimore premiere of Jennifer Higdon’s Low Brass Concerto, a BSO co- commission, as well as the world premiere of Anna Clyne’s cello concerto, Dance, with Inbal Segev. “I’m thrilled that this year’s New Music Festival features such an outstanding group of contemporary composers, who happen to be women!” said Alsop. “Each piece of music that we’ve programmed tells a unique and compelling story, and we are proud to present a range of voices and perspectives that showcases some of the most inspired work happening in classical composition today.” The 2019 New Music Festival kicks off on Wednesday, June 19 when composer Sarah Kirkland Snider participates in a discussion on her composition process at Red Emma’s Bookstore Café. On Thursday, June 20, Associate Conductor Nicholas Hersh leads members of the BSO and Shara Nova, also known as My Brightest Diamond, in a free concert at the Ottobar. -
Sound out Loud Ensemble New Arts Venture Challenge Grant Proposal
Sound Out Loud Ensemble New Arts Venture Challenge Grant Proposal April 5, 2016 Satoko Hayami DMA Candidate in Collaborative Piano, School of Music Executive Summary History and Makeup of Sound Out Loud Sound Out Loud (SOL) is a new music ensemble that recently launched in Madison. SOL is comprised of 7 forwardlooking, classically trained musicians, which includes 2 pianists, 1 percussionist, 1 flutist, 1 clarinetist, 1 violinist and 1 cellist. The group is lead by pianists Satoko Hayami and Kyle Johnson, a percussionist Garrett Mendelow. Mission SOL’s mission is to create a growing circle of musicians and audiences to share the excitement of the innovative, contemporary language of newly/recently composed classical music through a series of creative concerts and presentations primarily in the city of Madison. SOL also commissions works of young upcoming composers to enrich the repertoire of the genre. SOL believes that progressive new classical music expands the audience’s existing perspectives of music, and therefore further enhances their appreciation toward music in general. SOL also understands that new music’s relatable contemporary language helps the audience reconnect with conventional classical music, as inherited by contemporary classical music. Through commitment to contemporary classical music, SOL’s hope is to cultivate a sense of freedom toward classical music as well as toward other aspects of life, without the limitation of a conventional concept of music. Method SOL thrives to present highenergy performances of dynamic programs which are intellectually and emotionally inspirational for a wide array of audiences (including both classical music lovers and non classical music lovers). -
Programnotes Clyne Beethove
PROGRAM ONE HUNDRED TWENTY-FOURTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, May 28, 2015, at 8:00 Saturday, May 30, 2015, at 8:00 Ludovic Morlot Conductor Jennifer Koh Violin Berlioz Les francs-juges Overture, Op. 3 Clyne The Seamstress JENNIFER KOH World premiere CSO commission INTERMISSION Beethoven Symphony No. 3 in E-flat Major, Op. 55 (Eroica) Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto These violin concerto performances have been enabled by the Paul Ricker Judy Fund. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. PROGRAM ONE HUNDRED TWENTY-FOURTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Tuesday, June 2, 2015, at 6:30 Afterwork Masterworks Ludovic Morlot Conductor Jennifer Koh Violin Clyne The Seamstress JENNIFER KOH World premiere CSO commission Beethoven Symphony No. 3 in E-flat Major, Op. 55 (Eroica) Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto There will be no intermission. This violin concerto performance has been enabled by the Paul Ricker Judy Fund. The Chicago Symphony Orchestra is grateful to WBBM Newsradio 780 and 105.9FM for its generous support as a media sponsor of the Afterwork Masterwork series. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. -
Turnage Anna Nicole
Boosey & Hawkes Music Publishers Limited June 2011 2011/2 Turnage Anna Nicole New from Included in this issue: boosey.com Birtwistle Mark-Anthony Turnage’s new opera enjoyed a sell-out premiere run at The Royal Opera, New violin concerto travels followed by BBC television and radio broadcasts and a forthcoming DVD release. to BBC Proms ‘gentleman’s club’ in Houston... The more reflective passages often take the surprising form of beguiling, varied waltzes. Mr. Turnage and Mr. Thomas have come up with a slew of operatic characters that singers are going to relish, as this cast did. The London audience ate it up. But so did I, because in the end this is a musically rich, Online Scores launched audacious and inexplicably poignant work. The We are pleased to announce the launch of ovations were tumultuous.” New York Times Online Scores: a new boosey.com music “Turnage’s score is both immediately attractive service that allows you to view a digitised and dramatically purposeful, while Thomas’s pithy library of full scores from the B&H catalogue, text is integral to the success of an opera that hits free of charge. all the G-spots.” Sunday Times • over 400 scores currently available, with The Royal Opera’s production of Anna frequent additions Reich Nicole, with cast including Eva-Maria Kronos Quartet tours 9/11 wide range of leading composers from Westbroek, Gerald Finley and Alan Oke • Adams to Xenakis memorial to Europe conducted by Antonio Pappano, is released on DVD and Blu-ray by Opus Arte in August. first time access to many rare or • contemporary scores Turnage’s Blood on the Floor is choreographed by Wayne Macgregor in a available when you want, for study or • research new Francis Bacon-inspired ballet at the Opéra Bastille in Paris on 29 June. -
Deconstructing Sodom and Gomorrah: a Historical Analysis Of
Deconstructing Sodom and Gomorrah: A Historical Analysis of the Mythology of Black Homophobia A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Lance E. Poston December 2018 © 2018 Lance E. Poston. All Rights Reserved. 2 This dissertation titled Deconstructing Sodom and Gomorrah: A Historical Analysis of the Mythology of Black Homophobia by LANCE E. POSTON has been approved for the Department of History and the College of Arts and Sciences by Katherine Jellison Professor of History Joseph Shields Interim Dean, College of Arts and Sciences 3 ABSTRACT POSTON, LANCE E., PH.D., December 2018, History Deconstructing Sodom and Gomorrah: A Historical Analysis of the Mythology of Black Homophobia Director of Dissertation: Katherine Jellison This dissertation challenges the widespread myth that black Americans make up the most homophobic communities in the United States. After outlining the myth and illustrating that many Americans of all backgrounds had subscribed to this belief by the early 1990s, the project challenges the narrative of black homophobia by highlighting black urban neighborhoods in the first half of the twentieth century that permitted and even occasionally celebrated open displays of queerness. By the 1960s, however, the black communities that had hosted overt queerness were no longer recognizable, as the public balls, private parties, and other spaces where same-sex contacts took place were driven underground. This shift resulted from the rise of the black Civil Rights Movement, whose middle-class leadership – often comprised of ministers from the black church – rigorously promoted the respectability of the race. -
Patriot Players Presents
Patriot Players presents The mission of Make-A-Wish Foundation is to grant the wishes of children with life-threatening medical conditions to enrich the human experience with hope, strength, and joy. Thank you to our Children’s Workshop participants and this weekends’ audience members for helping the CB East Patriot Players raise $5,000 for this wonderful organization! Don’t miss our fall production of... November 20-22, 2020 The CB East Patriot Players Present Disney’s Directed by Many thanks for costuming contributions from: SASHA EISENBERG Choreographed and Produced by ALICIA SEHN Cargill’s Costume Barn Costume Builders Wrightstown Library Technical Director Vocal Director MICHAEL GRIECO CHRIS VILLANTE Costume Mistress Music Direction THERESA POIRIER JASON MOREHOUSE Scenes and Musical Numbers - Act 1 Overture Prologue Olim…………….....…………………………....Congregation, Choir The Bells of Notre Dame (Part 1)………….......Congregation, Choir The Bells of Notre Dame (Part2)………………….…..Frollo, Jehan Congregation, Choir The Bells of Notre Dame (Part 3)……....Jehan, Congregation, Choir The Bells of Notre Dame (Part 4)……………..Father Dupin, Frollo Conregation, Choir The Bells of Notre Dame (Part 5)…..…..Frollo, Congregation, Choir The Bells of Notre Dame (Part 6)……………...Congregation, Choir Scene 1: The Bell Tower Sanctuary……………..………………….…….....Frollo, Quasimodo Out There……………………………….………..………Quasimodo Scene 2: Town Square Topsy Turvy (Par1)……………………………...Clopin, Quasimodo Revelers, Choir Rest and Recreation…………………………..….Phoebus, Frollo Clopin, Revelers, Soldiers, -
Getting Over the Shock of the New
GETTING OVER THE SHOCK OF THE NEW CONTEMPORARY IS SYMPHONIC MUSIC Thomas Dausgaard conducts the Seattle Symphony GETTING OVER THE SHOCK OF THE NEW AGE COMING OF BY GREG CAHILL here is a creepy bloodlust to orchestra will premiere the rest of the it,” he says. “That alertness to what the com- the doom-mongering of clas- works in future seasons. poser actually wrote, rather than what might sical music, as though an Indeed, a look at major orchestras around have become standard practice, is an inspira- “T autopsy were being con- the United States shows that contemporary tion for me when working on music by dead ducted on a still-breathing body,” William symphonic works are slowly, but surely, mak- composers we can no longer ask questions of. Robin wrote in the New Yorker in a 2014 ing inroads into program schedules. For So much of what we perform is written by article about perpetual reports of the example, subscribers to the Chicago Sym- people long gone; it can be frustrating never genre’s death. “What if each commentator phony Orchestra’s 2020–21 season can to be able to ask them, never to see how their decided, instead, to Google ‘young com- expect a generous serving of Brahms, Cho- faces light up when they hear their music poser’ or ‘new chamber ensemble’ and write pin, Schubert, Schumann, Debussy, Ravel, coming to life. a compelling profile of a discovery?” and Scriabin. But the orchestra also will per- “So what a joy it is as performer and audi- That’s good advice, especially since form two world premieres of CSO-commis- ence to be around living composers and young composers are providing an infusion sioned works by American composer Gabriela enrich the experience of hearing and per- of new blood into the modern orchestra. -
Virginia Woolf & String Quartets Concert
Virginia Woolf & String Quartets Robinson College Chapel Cambridge 3 November 2016, 7.45pm Kreutzer Quartet Peter Sheppard Skærved – Violin Mihailo Trandafilovski – Violin Clifton Harrison – Viola Neil Heyde – Cello Kindly supported by PREFACE Welcome to the third concert of ‘Virginia Woolf & Music’. The project explores the role of music in Woolf’s life and afterlives: it includes new commissions, world premieres and little-known music by women composers. Outreach activities and educational resources have been central to the project since it began in 2015. Concerts on Woolf and Bloomsbury continue throughout 2016- 17. For further details see: http://virginiawoolfmusic.wp.st-andrews.ac.uk Woolf (1882-1941) was a knowledgeable, almost daily, listener to ‘classical’ music, fascinated by the cultural practice of music and by the relationships between music and writing. Towards the end of her life she famously remarked, ‘I always think of my books as music before I write them’. Her writing continues to inspire composers who have set her words or responded more obliquely to her work. This concert takes its cue from Woolf’s extraordinary experimental short fiction, ‘The String Quartet’ (1921). The work explores the pleasures and frustrations of ‘capturing’ music in language. Juxtaposing the banal remarks that frame the performance with the exuberant flights of fancy that unfold during the playing, Woolf’s work celebrates music’s capacity to stimulate memories and associations. And it celebrates too music’s own ‘weaving’ into a formal ‘pattern’ and ‘consummation’. On 7 March 1920, Woolf attended a concert that included a Schubert quintet ‘to take notes for my story’. -
Full Orchestra
Anna Clyne Masquerade 2013 5 min for orchestra 2.picc.2.CorA.2.bcl.2.dbn-4.3.2ttbn.btbn.1-timp(=tamb)-perc(3):BD.2susp.zizzle cym/castanets/3kazoos/SD/2cowbells (low, high)/crash cymb/motor horn/whip/t-tam/susp.cym(w/brushes)/ratchet/vibraslap/trgl-Harp\* (w/2 gtr picks or plastic cards)-strings \*If two Harps are available, the part may be doubled. 9790051097807 Orchestra (full score) Anna Clyne photo © Christina Kernohan World Premiere: 07 Sep 2013 Royal Albert Hall, London, United Kingdom BBC Symphony Orchestra FULL ORCHESTRA Conductor: Marin Alsop Availability: This work is available from Boosey & Hawkes for the world «rewind« 2005-2006 7 min Night Ferry 20 min for orchestra and optional tape 2012 2.2.2.2-4.2.2.0-timp.perc(3)-harp-pft-strings for orchestra 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(3):glsp/marimba/BD/susp.cym(w/brushes)/s World Premiere: 17 Feb 2005 mall Tibetan singing bowl(w/cushion and wooden Borden Auditorium, New York, NY, United States beater)/tam-t(L)/vib(w/bow)/BD/SD/susp.cym(w/brushes)/BD/small Tibetan singing bowl Manhattan School of Music Composers’ Orchestra (w/cushion and wooden Conductor: David Gilbert beater)/SD(w/brushes)/BD/susp.cym(w/brushes)/crot(w/bow)/small Tibetan singing bowl (w/cushion and wooden beater)-harp-pft-strings Availability: This work is available from Boosey & Hawkes for the world World Premiere: 09 Feb 2012 Abstractions Symphony Center, Chicago, IL, United States Chicago Symphony Orchestra 2016 20 min Conductor: Riccardo Muti for orchestra Availability: This work is available from -
Cabrillo Festival of Contemporarymusic of Contemporarymusic Marin Alsop Music Director |Conductor Marin Alsop Music Director |Conductor 2015
CABRILLO FESTIVAL OFOF CONTEMPORARYCONTEMPORARY MUSICMUSIC 2015 MARINMARIN ALSOPALSOP MUSICMUSIC DIRECTOR DIRECTOR | | CONDUCTOR CONDUCTOR SANTA CRUZ CIVIC AUDITORIUM CRUZ CIVIC AUDITORIUM SANTA BAUTISTA MISSION SAN JUAN PROGRAM GUIDE art for all OPEN<STUDIOS ART TOUR 2015 “when i came i didn’t even feel like i was capable of learning. i have learned so much here at HGP about farming and our food systems and about living a productive life.” First 3 Weekends – Mary Cherry, PrograM graduate in October Chances are you have heard our name, but what exactly is the Homeless Garden Project? on our natural Bridges organic 300 Artists farm, we provide job training, transitional employment and support services to people who are homeless. we invite you to stop by and see our beautiful farm. You can Good Times pick up some tools and garden along with us on volunteer + September 30th Issue days or come pick and buy delicious, organically grown vegetables, fruits, herbs and flowers. = FREE Artist Guide Good for the community. Good for you. share the love. homelessgardenproject.org | 831-426-3609 Visit our Downtown Gift store! artscouncilsc.org unique, Local, organic and Handmade Gifts 831.475.9600 oPen: fridays & saturdays 12-7pm, sundays 12-6 pm Cooper House Breezeway ft 110 Cooper/Pacific Ave, ste 100G AC_CF_2015_FP_ad_4C_v2.indd 1 6/26/15 2:11 PM CABRILLO FESTIVAL OF CONTEMPORARY MUSIC SANTA CRUZ, CA AUGUST 2-16, 2015 PROGRAM BOOK C ONTENT S For information contact: www.cabrillomusic.org 3 Calendar of Events 831.426.6966 Cabrillo Festival of Contemporary -
Ingressive Phonation in Contemporary Vocal Music, Works by Helmut Lachenmann, Georges Aperghis, Michael Baldwin, and Nicholas
© 2012 Amanda DeBoer Bartlett All Rights Reserved iii ABSTRACT Jane Schoonmaker Rodgers, Advisor The use of ingressive phonation (inward singing) in contemporary vocal music is becoming more frequent, yet there is limited research on the physiological demands, risks, and pedagogical requirements of the various ingressive phonation techniques. This paper will discuss ingressive phonation as it is used in contemporary vocal music. The research investigates the ways in which ingressive phonation differs acoustically, physiologically, and aesthetically from typical (egressive) phonation, and explores why and how composers and performers use the various ingressive vocal techniques. Using non-invasive methods, such as electroglottograph waveforms, aerodynamic (pressure, flow, flow resistance) measures, and acoustic analyses of recorded singing, specific data about ingressive phonation were obtained, and various categories of vocal techniques were distinguished. Results are presented for basic vocal exercises and tasks, as well as for specific excerpts from the repertoire, including temA by Helmut Lachenmann and Ursularia by Nicholas DeMaison. The findings of this study were applied to a discussion surrounding pedagogical and aesthetic applications of ingressive phonation in contemporary art music intended for concert performance. Topics of this discussion include physical differences in the production and performance of ingressive phonation, descriptive information regarding the various techniques, as well as notational and practical recommendations for composers. iv This document is dedicated to: my husband, Tom Bartlett my parents, John and Gail DeBoer and my siblings, Mike, Matt, and Leslie DeBoer Thank you for helping me laugh through the process – at times ingressively – and for supporting me endlessly. v ACKNOWLEDGEMENTS I have endless gratitude for my advisor and committee chair, Dr.