AMS/SMT Milwaukee 2014 Abstracts Thursday Afternoon
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SUSAN BOYNTON Curriculum Vitae (August 2017)
SUSAN BOYNTON Curriculum Vitae (August 2017) Department of Music Office: Columbia University 621 Dodge Hall 2960 Broadway, MC 1816 tel. 212 854 7186 New York, NY 10027 [email protected] EDUCATION 1992-1996 Brandeis University Ph.D. in Musicology (February 1997) Dissertation: Glossed Hymns in Eleventh-Century Continental Hymnaries (unpublished); Advisors: Margot Fassler and Jessie Ann Owens M.F.A. in Music and Women’s Studies (concurrent with Ph.D. studies) Thesis: The Reception of the Trobairitz: Implications for Music History 1991-1992 Université Catholique de Louvain-la-Neuve, Belgium Diplôme d’études médiévales avec grande distinction 1989-1991 Yale University: M.A. in Medieval Studies 1984-1988 Yale College: B.A. summa cum laude with honors in the Music Major EMPLOYMENT AND TEACHING EXPERIENCE Professor of Historical Musicology, Columbia University (as of July 1, 2012) Course Director, Art and Music Humanities Summer Program in Paris (2015-17) Visiting Associate Professor, Princeton University Music Department (spring 2011) Associate Professor of Historical Musicology, Columbia University (2006-2012) Assistant Professor of Historical Musicology, Columbia University (2000-2006) Assistant Professor of Musicology, University of Oregon, School of Music (1996-2000) Lecturer, Duke University (Fall 1994): Music History I: to 1600; Notation to 1400 Writing Instructor, Brandeis University (Spring 1996): First-year writing course Writing Fellow for Writing-Intensive Courses, Brandeis University (1994-5) Teaching Associate, Brandeis University (1994-1996), English as a Second Language Research Assistant Bernadette Brooten, Brandeis University (1994-1996) Barbara Shailor, Beinecke Library, Yale University (1989-1991) FELLOWSHIPS, AWARDS, and GRANTS 2017 Short-Term Research Fellowship, Long Room Hub Arts and Humanities Research Institute, Trinity College Dublin (May 2017) 2016 Ruth Solie Award of the American Musicological Society for Resounding Images: Medieval Intersections of Art, Music, and Sound, edited with Diane J. -
The New Dictionary of Music and Musicians
The New GROVE Dictionary of Music and Musicians EDITED BY Stanley Sadie 12 Meares - M utis London, 1980 376 Moda Harold Powers Mode (from Lat. modus: 'measure', 'standard'; 'manner', 'way'). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; most significantly, a concept involving scale type and melody type. The term 'mode' has always been used to designate classes of melodies, and in this century to designate certain kinds of norm or model for composition or improvisation as well. Certain pheno mena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see SOUND, §5. I. The term. II. Medieval modal theory. III. Modal theo ries and polyphonic music. IV. Modal scales and folk song melodies. V. Mode as a musicological concept. I. The term I. Mensural notation. 2. Interval. 3. Scale or melody type. I. MENSURAL NOTATION. In this context the term 'mode' has two applications. First, it refers in general to the proportional durational relationship between brevis and /onga: the modus is perfectus (sometimes major) when the relationship is 3: l, imperfectus (sometimes minor) when it is 2 : I. (The attributives major and minor are more properly used with modus to distinguish the rela tion of /onga to maxima from the relation of brevis to longa, respectively.) In the earliest stages of mensural notation, the so called Franconian notation, 'modus' designated one of five to seven fixed arrangements of longs and breves in particular rhythms, called by scholars rhythmic modes. -
VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette. -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
MUH 5684 Tuesday, Period 3 | Thursday, Periods 3–4 • MUB 232 • Spring 2020 Dr
detail from F-Pn vma ms 1068 | hand of violinist Pierre Baillot | photo by Michael Vincent Introduction to Historical Musicology MUH 5684 Tuesday, Period 3 | Thursday, Periods 3–4 • MUB 232 • Spring 2020 Dr. Michael Vincent • [email protected] • MUB 351 • Thursday & Friday period 5 Please visit me during my office hours. I’m available to discuss our course or issues of professional development. Overview We explore critical approaches to the history of musicology as an academic discipline. The readings provide an overview of fundamental concepts and methodologies, and significant musicological writings representing style periods and conceptual issues. While musicologists traditionally focus on European music in the classical tradition, we will sample scholarship that focuses on a broad range of repertoires. Students will be encouraged to approach the discipline and its history critically. This critical approach will inform your personal work, giving you the tools to investigate your own topic in novel and insightful ways. Each student will choose a “lab rat” at the beginning of the semester: an artistic period, repertoire, performer, social movement, or composer. You will investigate your lab rat using the weekly methodology, diversifying your knowledge of your chosen subject. Your lab rat may grow in unexpected ways as the semester progresses. This course has prerequisites: successful completion of the complete undergraduate music history sequence; graduate student status; and successful completion of the music history entrance exam or the review course. Expectations ❖ Reading You’re expected to come to class having completed all reading on the syllabus for that week. You must be ready to engage with the materials. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
AMS Newsletter February 2014
AMS NEWSLETTER THE AMERICAN MUSICOLOGICAL SOCIETY CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES VOLUME XLIV, NUMBER 1 February 2014 ISSN 0402-012X AMS Milwaukee 2014: Not Just 2013 Annual Beer, Brats, and Cheese Meeting: Pittsburgh AMS Milwaukee 2014 venues right in the downtown area, includ- The seventy-ninth Annual Meeting of the 6–9 November ing the Marcus Center for the Performing American Musicological Society took place www.ams-net.org/milwaukee Arts, home of the Milwaukee Symphony, the 7–10 November among the bridges, rivers, Florentine Opera, and the Milwaukee Bal- and hills of Pittsburgh’s Golden Triangle. Members of the AMS and the SMT will let. Pabst Theatre and the nearby Riverside The program was packed to the gills, with converge on Milwaukee, Wisconsin, in No- Theatre are home to regular series and the an average of seven concurrent scholarly ses- vember for their annual meetings. Situated Milwaukee Repertory Company. The large sions plus numerous meetings by the Soci- on the west shore of Lake Michigan about Milwaukee Theatre hosts roadshows. The ety’s committees, study groups, and editorial ninety miles north of Chicago, Milwaukee is downtown also boasts two arenas hosting boards, as well as lectures and recitals select- known as the Cream City not because Wis- sporting events and touring acts. The Broad- ed by the Performance Committee. Papers consin is America’s Dairyland, but because way Theatre presents smaller events, includ- and sessions spanned the entire range of the of the ubiquity of cream-colored brick used ing local theater companies and the Skylight field, from the origins of Christian chant to in the city’s oldest buildings. -
Jews and the West Legalization of Marijuana in Israel?
SEPTEMBER 2014 4-8 AMBASSADOR LARS FAABORG- ANDERSEN: A VIEW ON THE ISRAELI – PALESTINIAN CONFLICT 10-13 H.Е. José João Manuel THE FIRST AMBASSADOR OF ANGOLA TO ISRAEL 18-23 JEWS AND THE WEST AN OPINION OF A POLITOLOGIST 32-34 LEGALIZATION OF MARIJUANA IN ISRAEL? 10 Carlibah St., Tel-Aviv P.O. Box 20344, Tel Aviv 61200, Israel 708 Third Avenue, 4th Floor New York, NY 10017, U.S.A. Club Diplomatique de Geneva P.O. Box 228, Geneva, Switzerland Publisher The Diplomatic Club Ltd. Editor-in-Chief Julia Verdel Editor Eveline Erfolg Dear friends, All things change, and the only constant in spectrum of Arab and Muslim opinions, Writers Anthony J. Dennis the Middle East is a sudden and dramatic just as there is a spectrum of Jewish Patricia e Hemricourt, Israel change. opinions. Ira Moskowitz, Israel The Middle East is a very eventful region, As one of the most talented diplomats in Bernard Marks, Israel where history is written every day. Here history of diplomacy, Henry Kissinger Christopher Barder, UK you can witness this by yourself. It could said: “It is not a matter of what is true that Ilan Berman, USA be during, before or after a war – between counts, but a matter of what is perceived wars. South – North, North – South, to be true.” war – truce, truce – war, enemy – friend, Reporters Ksenia Svetlov Diplomacy, as opposed to war, facilitates Eveline Erfolg friend – enemy… Sometimes, these words (or sometimes hinders) conflict prevention David Rhodes become very similar here. and resolution, before armed conflict Neill Sandler “A la guerre comme à la guerre” and begins. -
I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D
Mode Стр. 1 из 93 Mode (from Lat. modus: ‘measure’, ‘standard’; ‘manner’, ‘way’). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5(ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6 I. The term II. Medieval modal theory III. Modal theories and polyphonic music IV. Modal scales and traditional music V. Middle East and Asia HAROLD S. POWERS/FRANS WIERING (I–III), JAMES PORTER (IV, 1), HAROLD S. POWERS/JAMES COWDERY (IV, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 1), RUTH DAVIS (V, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 3), HAROLD S. POWERS/MARC PERLMAN (V, 4(i)), HAROLD S. POWERS/MARC PERLMAN (V, 4(ii) (a)–(d)), MARC PERLMAN (V, 4(ii) (e)–(i)), ALLAN MARETT, STEPHEN JONES (V, 5(i)), ALLEN MARETT (V, 5(ii), (iii)), HAROLD S. POWERS/ALLAN MARETT (V, 5(iv)) Mode I. -
10Sa Jewish Report
friday 16 november 2012 / 2 Kislev 5773 volume 16 - number 41 news opinion letters tapestry community columns youth sports Silberhaft’s south african compassionate humanity brought to life (page 12) jewish report www.sajewishreport.co.za Labelling: SAJBD makes its final submission DAVID SAKS material used to produce the goods rules of origin be “prepared and ap- originated there. plied in an impartial, transparent, In the latest development regard- It lists Gaza along with the predictable, consistent and neutral ing the Department of Trade and West Bank and East Jerusalem as manner”. Industry’s controversial move to being “Israeli Occupied Territory”, It also would fall foul of the relabel Israeli products emanating even though seven years have now requirement that rules of origin from Jewish enclaves in the West passed since Israel withdrew in toto should be so applied as not to create Bank, the SAJBD has made another both its military forces and Jewish unnecessary obstacles to trade. formal submission detailing its residents from Gaza. The second main requirement objections to the measure. The SAJBD’s submission lists in the Board’s submission was This follows Minister of Trade two essential requirements for the that labelling legislation should and Industry Rob Davies’ issuing proposed measures to be regarded not discriminate but should apply of a Final Notice a month ago, in as acceptable. It accepted that it consistently to all of South Africa’s which the public was invited to was technically incorrect to label trading partners. submit their comments within a products emanating from the West In its current form, the notice prescribed 30-day period. -
UNIVERSITY of CALIFORNIA Los Angeles Reexamining Portamento As an Expressive Resource in Choral Music, Ca. 1840-1940 a Disserta
UNIVERSITY OF CALIFORNIA Los Angeles Reexamining Portamento as an Expressive Resource in Choral Music, Ca. 1840-1940 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Desiree Janene Balfour 2020 © Copyright by Desiree Janene Balfour 2020 ABSTRACT OF THE DISSERTATION Reexamining Portamento as an Expressive Resource in Choral Music, ca. 1840-1940 by Desiree Janene Balfour Doctor of Musical Arts University of California, Los Angeles, 2020 Professor William A. Kinderman, Co-Chair Professor James K. Bass, Co-Chair This study reexamines portamento as an important expressive resource in nineteenth and twentieth-century Western classical choral music. For more than a half-century, portamento use has been in serious decline and its absence in choral performance is arguably an impoverishment. The issue is encapsulated by John Potter, who writes, “A significant part of the early music agenda was to strip away the vulgarity, excess, and perceived incompetence associated with bizarre vocal quirks such as portamento and vibrato. It did not occur to anyone that this might involve the rejection of a living tradition and that singers might be in denial about their own vocal past.”1 The present thesis aims to show that portamento—despite its fall from fashion—is much more than a “bizarre vocal quirk.” When blended with aspects of the modern aesthetic, 1 John Potter, "Beggar at the Door: The Rise and Fall of Portamento in Singing,” Music and Letters 87 (2006): 538. ii choral portamento is a valuable technique that can enhance the expressive qualities of a work. -
On the Market
INSIDE BROOKLYN’S WEEKLY NEWSPAPER Including The Downtown News, Carroll Gardens-Cobble Hill Paper and Fort Greene-Clinton Hill Paper Rosie Perez comes home to Brooklyn Published weekly by Brooklyn Paper Publications Inc, 26 Court St., Brooklyn 11242 Phone 718-834-9350 AD fax 718-834-1713 • NEWS fax 718-834-9278 © 2003 Brooklyn Paper Publications • 16 pages including GO BROOKLYN • Vol.26, No. 23 BWN • June 9, 2003 • FREE ON THE MARKET Witnesses put waterfront tower up for sale By Patrick Gallahue turing and Design Center, a collec- The Brooklyn Papers tion of businesses and artist studios now operating in a former rope fac- TA set to The Watchtower Bible and tory, would be compatible with Tract Society of New York, also Brooklyn Bridge Park. shaft the known as the Jehovah’s Wit- “It’s a million square feet and it nesses, announced this week has absolutely spectacular views of Heights their interest in selling their 1- the harbor and Lower Manhattan,” million-square-foot building at Koval said. “I think we’re enor- PAGE 2 360 Furman St between Jora- mously interested in the possibility lemon Street and Atlantic that this wouldn’t be a shipping and Avenue. printing operation of any organiza- there is compatible with the park “We have a number of options tion, religious or otherwise. The and traffic.” out there that we are exploring,” truck traffic and the volume of traf- She declined, however, to voice said Watchtower spokesman fic has always been an issue not opinions or concerns about the Robert Alexander. “We’re waiting just for the park but the surround- project until a specific proposal is ing community.” to see what … will come back.” Mango / Greg made.