Farquhar College of Arts and Sciences, H. Wayne
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Doctoral Dissertation Template
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE ALLISON NELSON: PIANIST, TEACHER AND EDITOR A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By LYNN WORCESTER Norman, Oklahoma 2015 ALLISON NELSON: PIANIST, TEACHER AND EDITOR A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Jane Magrath, Chair ______________________________ Dr. Stephen Beus, Co-Chair ______________________________ Dr. Barbara Fast ______________________________ Dr. Edward Gates ______________________________ Dr. Eugene Enrico ______________________________ Dr. Joseph Havlicek © Copyright by LYNN WORCESTER 2015 All Rights Reserved. ACKNOWLEDGMENTS This work would not have been possible without the guidance and support of the faculty members who served on my committee, Dr. Jane Magrath, Dr. Barbara Fast, Dr. Edward Gates, Dr. Eugene Enrico, Dr. Stephen Beus and Dr. Joseph Havlicek. To Dr. Jane Magrath: Thank you for your patience and continued support through every turn and for showing me how to be the finest professional I can be. Your guidance has allowed me to come in to my own as a pianist, teacher and writer. Special gratitude is reserved for Dr. Allison Nelson who shared her time, memories, and efforts over the course of this past year. Her wisdom, energy, and passion for music will stay with me for the rest of my life. Thank you to all of Dr. Nelson’s colleagues and former students who shared their time and participated in this study. A special thanks is owed to my family—my father, Mark Worcester, my mother, Eiki Worcester and my sister, Leya Worcester—whose love and dedication will always be cherished. -
Department of Music Programs 1968 - 1969 Department of Music Olivet Nazarene University
Olivet Nazarene University Digital Commons @ Olivet School of Music: Performance Programs Music 1969 Department of Music Programs 1968 - 1969 Department of Music Olivet Nazarene University Follow this and additional works at: https://digitalcommons.olivet.edu/musi_prog Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Department of Music, "Department of Music Programs 1968 - 1969" (1969). School of Music: Performance Programs. 1. https://digitalcommons.olivet.edu/musi_prog/1 This Book is brought to you for free and open access by the Music at Digital Commons @ Olivet. It has been accepted for inclusion in School of Music: Performance Programs by an authorized administrator of Digital Commons @ Olivet. For more information, please contact [email protected]. 7 8 0 . 7 3 9 O M p 1 9 6 8 - 6 9 PROGRAMS 1968-69 7 $ e . DEPARTMENT OF MUSIC i u M a OLIVET NAZARENE COLLEGE DEPARTMENT OF MUSIC presents SENIOR RECITAL GEORGENE FISH PIANO AND CALBERT HOLSTE I N TENOR PHYLLIS HOLSTEIN/ ACCOMPANIST Lasciatemi morire, "Ariana"0oe.....0Claudio Monteverdi Dove sei, amato bene?, "Rodelinda".0o.George F 0 Handel If With All Your Hearts, "Elijah"....Felix Mendelssohn Prelude and Fugue, No. 3.0o...o..Johann Sebastian Bach Fantasia in D minor 0 D 0«».,«5.«.Wolfgang Amadeus Mozart Viens Aurore..ooooooooooooooooooooooooooo.c.o Arro A o L . F el d e m s a m k e i t oooooooo..o.o.oooo..oo.. odohannes Brahms Du bist wie Eine BlumeDo,...t.t....o««Anton Rubenstein M*appari tut" amor, "Martha".....Friedrich von Flowtow Mouvements Perpetuels for Piano........Francis Poulenc I. -
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. -
A Tribute • Lauritz Melchior (Ten)
LAURITZ MELCHIOR: A Tribute • Lauritz Melchior (ten); Various artists • IMMORTAL PERFORMANCES 1139-2 mono (4 CDs: 312:54) WAGNER Die Walküre: Act II (Edwin McArthur, cond; Kirsten Flagstad (Brünnhilde); Marjorie Lawrence (Sieglinde); Herta Glaz (Fricka); Lauritz Melchior (Siegmund); Fred Destal (Wotan); San Francisco Op O. Live: San Francisco 10/24/1939). WAGNER Die Walküre: Act I; Act II, Scene 3 (Fritz Stiedry, cond; Helen Traubel (Brünnhilde); Rose Bampton (Sieglinde); Lauritz Melchior (Siegmund); Mihály Székely (Hunding); Metropolitan Op O. Live: New York 1/24/1948). WAGNER Tristan und Isolde: Act II (Fritz Busch, cond; Helen Traubel (Isolde); Blanche Thebom (Brangäne); Lauritz Melchior (Tristan); Mikhail Székely (King Marke); Metropolitan Op O. Live: New York 1/3/1948). & VERDI Aida: Judgment Scene (with Margarethe Arndt- Ober). Otello: Esultate! Dio mi potevi (2 recordings). Niun mi tema. PUCCINI Tosca: Recondita armonia. LEONCAVALLO Mattinata. Pagliacci: Vesti la giubba (2 recordings). STRAUSS Zueignung. Heimliche Aufforderung. SCHUBERT Ständchen. SEVERRE JORDAN Høorer du!. GRIEG Ich liebe dich. WAGNER Der fliegende Holländer: Mit Gewitter und Sturm. Die Meistersinger: Preislied. (2 recordings). Die Walküre: Winterstürme. Lohengrin: In fernem Land. Mein lieber Schwan. Parsifal: Nur eine Waffe taught! (2 recordings). Siegfried: Nothung!. Wesendonck-Lieder: Traume. Interview with Melchior By Henry Fogel FANFARE November / December 2020 There are a number of opera singers who deserve the adjective “great.” Each of them brings to the public something unique. I can think of only one, however, whose level of performance is so far above and beyond his colleagues that he occupies his own level in the vocal hierarchy: Lauritz Melchior. At least since the beginning of recordings, in the category of Heldentenors there has been Melchior and then all others. -
Die Meistersinger, New York City, and the Metropolitan Opera: the Intersection of Art and Politics During Two World Wars
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2016 Die Meistersinger, New York City, and the Metropolitan Opera: The Intersection of Art and Politics During Two World Wars Gwen L. D'Amico 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/1221 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] DIE MEISTERSINGER, NEW YORK CITY, AND THE METROPOLITAN OPERA: THE INTERSECTION OF ART AND POLITICS DURING TWO WORLD WARS by GWEN D’AMICO A dissertation submitted to the Graduate Faculty in Musicology in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 ii © 2016 Gwen D’Amico All Rights Reserved iii Die Meistersinger, New York City, and The Metropolitan Opera: The Intersection of Art and Politics During Two World Wars By Gwen D’Amico 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 _______________________"""""""""""""""""""""""""""""""""""""""""""__________________________________" Date Norman Carey " " " " " " " Chair of Examining Committee ______________________"""""""""" " " _____________________________________" Date Norman Carey " " " " " " " Executive Officer Supervisory Committee Allan Atlas, Advisor Bruce MacIntyre, First Reader Nicholas Vazsonyi THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Die Meistersinger, New York City, and The Metropolitan Opera: The Intersection of Art and Politics During Two World Wars By Gwen D’Amico Advisor: Professor Allan Atlas In 1945, after a five-year hiatus, the Metropolitan Opera returned Richard Wagner’s Die Meistersinger von Nürnberg to its stage. -
2005 Undergraduate Commencement Ceremony - Farquhar College of Arts and Sciences, H
Nova Southeastern University NSUWorks NSU Commencement Programs NSU Digital Collections 5-14-2005 2005 Undergraduate Commencement Ceremony - Farquhar College of Arts and Sciences, H. Wayne Huizenga School of Business and Entrepreneurship, Fischler School of Education and Human Services Nova Southeastern University Follow this and additional works at: https://nsuworks.nova.edu/nsudigital_commencement Part of the Higher Education Commons NSUWorks Citation Nova Southeastern University, "2005 Undergraduate Commencement Ceremony - Farquhar College of Arts and Sciences, H. Wayne Huizenga School of Business and Entrepreneurship, Fischler School of Education and Human Services" (2005). NSU Commencement Programs. 146. https://nsuworks.nova.edu/nsudigital_commencement/146 This Commencement Program is brought to you for free and open access by the NSU Digital Collections at NSUWorks. It has been accepted for inclusion in NSU Commencement Programs by an authorized administrator of NSUWorks. For more information, please contact [email protected]. THE PRESIDENT, BOARD OF TRUSTEES . ADMINISTRATION, AND STAFF CONGRATULATE YOU ON THIS VERY SPECIAL DAY . • TODAY'S COMMENCEMENT EXERCISE IS THE CULMINATION OF YOUR HARD WORK AND INTELLECTUAL EFFORT, WHICH SUCH SHOULD BE DULY NOTED AND PUBLICLY RECOGNIZED • MAY ALL YOUR DREAMS AND WISHES BRING FORTH A PROSPEROUS FUTURE. CONGRATULATIONS' NOVA SOUTHEASTERN UNIVERSITY 2005 UNDERGRADUATE COMMENCEMENT CEREMONY OF FARQUHAR COLLEGE OF ARTS AND SCIENCES H. WAYNE HUIZENGA SCHOOL OF BUSINESS AND ENTREPRENEURSHIP FISCHLER SCHOOL OF EDUCATION AND HUMAN SERVICES OFFICE DEPOT CENTER SUNRISE, FLORIDA Saturday, the Fourteenth of May, Two Thousand Five Eleven O'Clock in the Morning THE ACADEMIC PROCESSION MARSHAL CANDIDATES FOR THE BACHELOR'S DEGREE MEMBERS OF THE FACULTY TRUSTEES DISTINGUISHED GUESTS UNIVERSITY OFFICIALS I UNDERGRADUATE PROGRAMS COMMENCEMENT 2005 ORDER OF EXERCISES Prelude * Processional Crown Imperial (1937) ................. -
April 1948) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1948 Volume 66, Number 04 (April 1948) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 66, Number 04 (April 1948)." , (1948). https://digitalcommons.gardner-webb.edu/etude/174 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. « 9fri nr/<i?/y VM THE CURTIS INSTITUTE OF MUSIC FOUNDED BY MARY LOUISE CURTIS BOK TWENTY-FIFTH ANNIVERSARY SEASON 1948-1949 Efrem Zimbalist, Director FACULTY COMPOSITION and THEORY DEPARTMENT Constant Vauclain Gian -Carlo Menotti Edith Evans Braun Anne-Marie Soffray More American children are entering the world of music on the keys of a Wurlitzer piano than on those of any other VOICE Eufemia Giannini Gregory name, for Wurlitzer is first choice of musical America. Marion Szekely Freschl Vocal Repertoire Rich \es, more Wurlitzer pianos than those of any other Leo Rosenek Martin Elizabeth Westmoreland name are going into the homes and schools of OPERA America today. Is it any wonder that to millions John Wolmut, Director Shown here is the new Wurlitzer Spinette of music lovers everywhere Wurlitzer is music? Model 535. -
Sheet Music Collection Denver Public Library – WHG
Sheet Music Collection Denver Public Library – WHG This collection contains over 660 individual scores for a large variety of music for many different instruments and vocal parts. Dating from the 1890s into the 1960s, genres include cowboy ballads, movie theme songs, two-steps, foxtrots, polkas, tangos, waltzes, piano studies and rags, choral pieces, school marches, Christmas and religious music, Spanish, Mexican, Native American and Hawaiian songs, military and patriotic pieces, romantic classics and parlor music. Many titles are about Colorado and Denver, and many other western states are included. Notable titles include “Four Pastorales – Music by Cecil Effinger, words by Thomas Hornsby Ferril,” “Colorado Volunteers March - By Oswald H. Richter,” “DeHarport's Practical Method for Tenor Banjo,” “Democratic Fun - A campaign cake walk by Robert Buechel,” “Fremont's Great Republican March,” “Hush My Little Coon,” “If I Had a Wagon, I Would Go To Colorado,” “National Farmers Union - A songbook of the Farmers Educational and Cooperative Union of America,” and “When the Columbines are Blooming in the Colorado Dells.” 1 Sheet Music Collection Last Update 1/16/13 [approx. 660 titles] These are housed on Level 6, in the “H Range” in the eastern half. [The filing strategy is inconsistent. Most often, items are filed by the first-listed creator name, usually “lyrics” or “words by” names. Some items are filed by the second creator, usually “music by.” Items without noted authors are by title. Items on the list below are by title.] Box 1 A-Bo RgH -
Sheet Music Collection Index
Sheet Music Collection Denver Public Library – WHG This collection contains over 705 individual scores for a large variety of music for many different instruments and vocal parts. Dating from the 1890s into the 1960s, genres include cowboy ballads, movie theme songs, two-steps, foxtrots, polkas, tangos, waltzes, piano studies and rags, choral pieces, school marches, Christmas and religious music, Spanish, Mexican, Native American and Hawaiian songs, military and patriotic pieces, romantic classics and parlor music. Many titles are about Colorado and Denver, and many other western states are included. Notable titles include “Four Pastorales – Music by Cecil Effinger, words by Thomas Hornsby Ferril,” “Colorado Volunteers March - By Oswald H. Richter,” “DeHarport's Practical Method for Tenor Banjo,” “Democratic Fun - A campaign cake walk by Robert Buechel,” “Fremont's Great Republican March,” “Hush My Little Coon,” “If I Had a Wagon, I Would Go To Colorado,” “National Farmers Union - A songbook of the Farmers Educational and Cooperative Union of America,” and “When the Columbines are Blooming in the Colorado Dells.” Sheet Music Collection Last Update 10/07/2020 [approx. 705 titles] These are housed on Level 6, in the “H Range” in the eastern half. [The filing strategy is inconsistent. Most often, items are filed by the first-listed creator name, usually “lyrics” or “words by” names. Some items are filed by the second creator, usually “music by.” Items without noted authors are by title. Items on the list below are by title.] Box 1 A-Bo RgH -
A Complete Kirsten Flagstad Discography, Would Take Many Years to Carry Throughl
A complete Kirsten Flagstad discography, would take many years to carry throughl. If we include an unknown amount of pirate copies and till now unknown broadcast recording, we would come close to 1000 recordings of Kirsten Flagstad’s singing, made during a period of 46 years (1913-1959). Several Flagstad discographies have been written, but none of them can be regarded as complete. The most detailed of them all is undoubtedly Howard G. Sanner, edited 1980. Still, when we now have been allowed to write down this so far unknown Arne Dørumsgaard discography, it is our hope that you will get at least an idea of Kirsten Flagstad’s enormouus production. The lists also include some real curiosities. f1 FLAGSTAD MEMORIAL ALBUM, VOLUME II HARVEST H- 1004 side 1 1) Aagots Fjeldsang.......................................................... Thrane 2) Aa Ola,Ola min eigen onge........................................... Folksong 3) Mot Kveld...................................................................... Backer- Grøndahl 4) Solveigs Sang............................................................... Grieg 5) Sæterjentens Søndag................................................... Bull 6) Mainat............................................................................Sinding 7) Vaaren.......................................................................... Grieg 8) Ingalil.............................................................................Rosenfeld side 2 1) Hjem, kjære Hjem......................................................... Bishop -
Where Have the Great Big Wagner Voices Gone?
Where Have The Great Big Wagner Voices Gone? Andrew Moravcsik Many critics, fans and opera professionals agree that the heights attained by Wagner and Verdi singers in the “Golden Age” of the mid-20th century have eroded.1 Today most perceive a severe shortage of great spinto and dramatic opera voices—the vocal types for which Wagner, Verdi, Puccini and other late 19th or early 20th century composers wrote most of their music. These are “great big voices”: the most powerful, expressive and weighty in opera, able to project over a massive orchestra for three to six hours at a stretch, while maintaining the sharp edge, dark resonance and precise diction that express bold and direct emotions.2 In the area of Wagner performance, many have sounded the alarm about this recent decline. Nina Stemme, one of today’s finest Brünnhildes, speaks for many when she describes Wagnerian standards seventy-five years ago: “Flagstad and Melchior really ruined everything for later Wagner singers. No one today comes close: we can only modestly attempt to approach the score in other ways.”3 At the Metropolitan Opera, a house that consistently attracts the world’s best singers, the late 1930s and early 1940s are almost unanimously viewed, in Paul Jackson’s words, as a “concurrence of artists and repertory which finds no equal within memory.” Wagnerian singers of this period are “benchmarks of performance history.”4 Table 1 compares cast lists during five three-year periods over the past century—illustrating how, with a few individual exceptions, quality has generally declined.5 This paper presents preliminary results from the first academic study to examine this perceived decline. -
April 1944) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1944 Volume 62, Number 04 (April 1944) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 62, Number 04 (April 1944)." , (1944). https://digitalcommons.gardner-webb.edu/etude/218 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. r oria , THE FIRST PERFORM- ANCE of a full-length symphony, composed for and dedicated with per- mission to the Army Air Forces, by Corporal Sam- UhcisuaL College uel Barber, took place AmemcA's most on March 3 in Boston, when the work was pre- Samuel Boston Barber sented by the Symphony Orchestra, conducted by Serge Koussevitzky. The “Symphony Dedicated to the Army Air ORATORIOS, OPERAS Forces,” was begun last September at IN ITS RADIO PROGRAMS, CONCERTS, RECITALS, Fort Worth Army Airfield, Texas, when APPEARANCE, some in Corporal Barber accompanied pilots on AFFORDS STUDENTS OPPORTUNITIES FOR PUBLIC many flights. It is his second work in this f:rm, his “First Symphony” having- HERE. THERE. AND EVERYWHERE ASSOCIATION WITH PROMINENT GUEST ARTISTS. been written in 193G, and having the dis- tinction of being the only American work IN THE MUSICAL WORLD produced that season in Salzburg, when it was conducted by Artur Rodzinski.