DOCSLIB.ORG

MLA Meets in Dallas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MLA Meets in Dallas MMLLAA NEWSLETTER MMLLAA MMeeeettss iinn DDaallllaass Part I of Annual Meeting Coverage Inside: Feature: Get to Know Your Calendar . 15 President’s Report . 2 Membership . 9 MLA News . 18 Annual Meeting Coverage . 3 Developing Trends . 10 Announcements . 23 In Recognition . 5 New Members . 10 Members’ Publications . 25 Transitions . 8 Committee Reports . 11 No. 168 Mar–April 2012 ISSN 0580-289-X President’s Report MUSIC LIBRARY ASSOCIATION Jerry McBride, MLA President In addition to the annual meet- Board of Directors Greetings, MLA members. ing, the work of Officers It is always a pleasure to review MLA continues. Work on the strategic JERRY MCBRIDE, President the events at a MLA meeting, and plan continued culminating in the Stanford University this year’s meeting at Dallas had its town hall meeting at the conference. MICHAEL COLBY, Vice-President/President Elect share of high points. From jazz col- Strategic planning is an ongoing University of California–Davis lections at UNT to best practices for process, and MLA members are en- PAMELA BRISTAH, Recording Secretary fair use, from form/genre terms to couraged to contact members of the Wellesley College information-seeking behaviors and board with your ideas and sugges- LINDA W. BLAIR, Administrative Officer new information tools in the cloud— tions for future directions MLA Eastman School of Music these are just a sampling of the should be taking. PAUL CARY, Assistant Administrative Officer wealth of interesting programs at the There were a number of task Baldwin-Wallace College conference. When there was time to forces that submitted their reports to slip out of the hotel, you could visit the board at its Dallas meeting. The Members-at-Large 2011–2013 DANIEL F. BOOMHOWER the nearby historic section of Dallas Archive’s Policy Task Force is plan- Library of Congress and performances of the Symphony ning for much better handling of KIRSTIN DOUGAN and Opera in the evening or more MLA’s eighty years of organizational University of Illinois at Urbana–Champaign native forms of Texas entertainment. records. The Branch Libraries Task LAURIE J. SAMPSEL Visiting the exhibits was more con- Force report, soon to be on the MLA University of Colorado at Boulder venient than ever as they were di- Web site, will help libraries that are Members-at-Large 2012–2014 rectly next to the main meeting room, facing integration into a larger li- PAULA HICKNER making it very easy stop by in those brary. Both of these task forces will University of Kentucky spare moments in between sessions. continue their work into the next STEVE LANDSTREET No annual meeting is a success year. The IT task force has issued a Free Library of Philadelphia without the many hours of hard RFP to improve the entire MLA infor- MARK SCHARFF Washington University work by MLA participants. Thanks mation technology infrastructure for an imaginative program go to upon which the board will act this Typeset by A-R Editions, Middleton, WI. Morris Levy and the Program Com - year. A new Membership Committee MLA NEWSLETTER mittee. The smooth operation of in- has just been appointed with Misti Shaw, Editor numerable details of every aspect of Ruthann McTyre as chair to work on the conference is due to the superb building MLA’s membership. We are The Newsletter is published four times a year: September–October, November–December, March– planning and constant vigilance of moving forward on all of these is- April, and May–June, by the Music Library Associ a tion, the convention managers, Bonna sues to maintain the vitality of MLA c/o A-R Editions, Inc.; 8551 Research Way, Suite 180; Middleton, WI 53562, and is issued to its members Boettcher and Laura Gayle Green. as an organization. free of charge. Making our stay in Dallas and at the All of this work happens as a re- The purpose of the Newsletter is to keep the membership of the Association abreast of events, Fairmont a welcoming and pleasant sult of the dedication of MLA mem- ideas, and trends related to music librarianship. All experience were the many volun- bers. Members Paula Hickner, Steve communications and articles are welcome. Address correspondence to: teers in the Local Arrangements Landstreet, Mark Scharff, assistant ad- Committee headed by Michelle Hahn ministrative officer Paul Cary, and Misti Shaw DePauw University and Tina Murdock. Jim Zychowicz vice president Michael Colby join the GCPA Music Library and the Business Office ably handled board this year. Susannah Cleveland, 605 S. College Greencastle, IN 46135 the registration and other member Cheryl Taranto, and Liza Vick step [email protected] services. Many thanks to all of you. If down this year with our deep grati- The deadline for submitting copy to the editor for you were not able to attend the tude and thanks for their service. issue number 169 (May–June 2012) is May 7, 2012. Dallas conference, seriously consider Past president Ruthann McTyre, and Submissions in Microsoft Word sent via e-mail attach- ment are preferred. attending the San Jose conference administrative officer Michael Rogan next February 27–March 3. Being in completed four years of amazing ac- the heart of Silicon Valley is sure to complishments for MLA. We will miss provide opportunities for exploring their experience and wisdom. The cutting-edge technologies in music Publicity and Outreach Officer, On the cover: A breathtaking view of the night- librarianship. continued on next page time Dallas skyline, taken by Gerry Szymanski. 2 M L A Newsletter • No. 168 Annual Meeting Coverage Plenary I: Jazz Collections and Performance Practice at the University of North Texas Submitted by Bracken Klar are now 350 student participants in those collections. Since the record- one of nine Lab Bands. ings are quite old and in a rather del- This, the 1st Plenary Session of Next, we were told about the icate state, there is a lot that hasn’t the 81st Annual Meeting, immedi- evolution of the band and some of been heard by any UNT folks at all. ately set the tone for the rest of the its accomplishments. Gene Hall came There is also an ongoing effort to se- conference. The presenters, Andrew into the picture in 1942 when he of- cure funding to transfer these older Justice, Mark McKnight, Donna fered a “Dance Band” undergraduate holdings onto more modern, stable, Arnold, and John Murphy, were en- degree. This was the program that formats. I was very happy to have gaging and obviously engaged with became the Jazz program in 1947. learned a little something a bit their subject, jazz. More specifically, Both the One O’Clock Lab Band and more obscure and a lot less “cow- the topic of this meeting was jazz at the jazz program are around today, boy” about the Texas area. While UNT and, as you will read, proved to having evolved into highly praised Western Swing is cowboy jazz, Texas be informative and unique to the and regarded entities, each in their isn’t a place that comes up a lot in University of North Texas. own right. The One O’Clock Lab jazz conversations. The first part of the presentation Band has performed at the White The next part detailed the per- was a kind of origins of jazz at UNT House and toured what was then the formance of jazz in the Denton area. presentation. We learned that UNT U.S.S.R. in the service of the Depart- There were two major media outlets offered a jazz degree program for ment of State, among other achieve- for jazz in the Denton area, WFAA the first time in 1944 and was the ments. UNT has a very nice collec- Channel 8 and WBAP 96.7 FM. Both first jazz degree program in the tion if one wishes to discover more started back in 1922, even before U.S. It was also the first program in about the history of jazz at UNT. The Fessor was leading the Aces around which students could receive aca- Kenton Collection details the devel- town. In the beginnings of radio, it demic credit for playing in a jazz opment and gradual acceptance of was common practice to eschew band. The program’s (pre) begin- the jazz program at UNT, in which prerecorded music in favor of live nings were traced back even further the One O’Clock Lab Band played an performance. These two outlets were to 1927 when Floyd “Fessor” Graham important role. both in that habit as well. During the started the “Aces,” a group of student In addition to the Kenton collec- time before televisions were present musicians who played around town tion, UNT houses a sizeable collec- in huge numbers throughout the at silent movie screenings. The Aces tion of studio, non-commercial, jazz country, WBAP collected huge were the progenitors of the One recordings. There is an ongoing at- amounts of sheet music. WFAA had O’Clock Lab Band. The One O’Clock tempt to better catalog the collection collected a large amount of sheet Lab Band is still around today. There and determine unique holdings in music as well, before the switch to prerecorded performance became the standard. As Television became the pub- lic’s preferred source of enter- President’s Report continued . tainment in the home, the switch continued from previous page As we look toward MLA’s work from live to recorded perfor - Renee McBride, and Index and Bibli- in the coming year, please feel free mance became more and more ography Series Editor, Mark Palkovic, to contact me any time with your prevalent. This left the vast collec- are handing over their responsibili- questions about MLA and your ideas tions of sheet music to be underused ties to Bob Follet and Dick Griscom.
Load more

Recommended publications
  • 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.
    [Show full text]
  • American Viola Works
    Cedille Records CDR 90000 053 AMERICAN VIOLA WORKS Cathy Basrak viola William Koehler Robert Koenig piano music by George Rochberg Frederick Jacobi Alan Shulman Quincy Porter Lowell Liebermann DDD Absolutely Digital™ CDR 90000 053 AMERICAN VIOLA WORKS GEORGE ROCHBERG: SONATA FOR VIOLA AND PIANO (1979) (20:24) 1 I. Allegro moderato (10:11) 2 II. Adagio lamentoso (7:06) 3 III. Fantasia: Epilogue (2:58) 4 FREDERICK JACOBI: FANTASY FOR VIOLA AND PIANO (1941) (9:47)* 5 ALAN SHULMAN: THEME AND VARIATIONS (1940) (14:02)** 6 QUINCY PORTER: SPEED ETUDE (1948) (2:21)* LOWELL LIEBERMANN: SONATA FOR VIOLA AND PIANO (1984) (25:23)* 7 I. Allegro moderato (8:53) 8 II. Andante (8:57) 9 III. Recitativo (7:24) CATHY BASRAK, VIOLA WILLIAM KOEHLER 4, 7-9 & ROBERT KOENIG 1-3, 5, 6 PIANO *first recording **first recording of original version TT: (72:35) CDCD EFEFEF Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. The Chi- cago Classical Recording Foundation’s activities are supported in part by contributions and grants from individuals, foundations, and corporations, including the WPWR-TV Channel 50 Foundation. PROGRAM NOTES compiled by Cathy Basrak eorge Rochberg (b. 1918) studied rederick Jacobi was born in 1891 G composition at the Mannes School F in San Francisco and died in 1952 of Music and the Curtis Institute. In 1948, in New York. A composition pupil of Rubin he joined the faculty at Curtis, then taught Goldmark and Ernest Bloch, Jacobi served at the University of Pennsylvania, retir- as an assistant conductor of the Metropoli- ing in 1983 as Annenberg Professor of tan Opera and taught composition at Juil- the Humanities Emeritus.
    [Show full text]
  • Collective Difference: the Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Collective Difference: The Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N. Stallings Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC COLLECTIVE DIFFERENCE: THE PAN-AMERICAN ASSOCIATION OF COMPOSERS AND PAN-AMERICAN IDEOLOGY IN MUSIC, 1925-1945 By STEPHANIE N. STALLINGS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2009 Copyright © 2009 Stephanie N. Stallings All Rights Reserved The members of the Committee approve the Dissertation of Stephanie N. Stallings defended on April 20, 2009. ______________________________ Denise Von Glahn Professor Directing Dissertation ______________________________ Evan Jones Outside Committee Member ______________________________ Charles Brewer Committee Member ______________________________ Douglass Seaton Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I would like to express my warmest thanks to my dissertation advisor, Denise Von Glahn. Without her excellent guidance, steadfast moral support, thoughtfulness, and creativity, this dissertation never would have come to fruition. I am also grateful to the rest of my dissertation committee, Charles Brewer, Evan Jones, and Douglass Seaton, for their wisdom. Similarly, each member of the Musicology faculty at Florida State University has provided me with a different model for scholarly excellence in “capital M Musicology.” The FSU Society for Musicology has been a wonderful support system throughout my tenure at Florida State.
    [Show full text]
  • Universiv Micrcsilms International
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. Tlie sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • 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
    [Show full text]
  • Sine Waves and Simple Acoustic Phenomena in Experimental Music - with Special Reference to the Work of La Monte Young and Alvin Lucier
    Sine Waves and Simple Acoustic Phenomena in Experimental Music - with Special Reference to the Work of La Monte Young and Alvin Lucier Peter John Blamey Doctor of Philosophy University of Western Sydney 2008 Acknowledgements I would like to thank my principal supervisor Dr Chris Fleming for his generosity, guidance, good humour and invaluable assistance in researching and writing this thesis (and also for his willingness to participate in productive digressions on just about any subject). I would also like to thank the other members of my supervisory panel - Dr Caleb Kelly and Professor Julian Knowles - for all of their encouragement and advice. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .......................................................... (Signature) Table of Contents Abstract..................................................................................................................iii Introduction: Simple sounds, simple shapes, complex notions.............................1 Signs of sines....................................................................................................................4 Acoustics, aesthetics, and transduction........................................................................6 The acoustic and the auditory......................................................................................10
    [Show full text]
  • Jacob Avshalomov, Conductor Music by Avshalomov, Harris, and Ward
    NWCR664 Portland Youth Philharmonic Jacob Avshalomov, conductor Music by Avshalomov, Harris, and Ward Avshalomov: Phases of The Great Land (1958) .............................. (15:33) 1. I. The Long Night; Klondike Fever .......... (8:26) 2. II. The Summer Days; Anchorage Aloft ... (7:03) Harris: 3. Elegy and Dance (1958) ...................................... (9:46) Ward: Divertimento for Orchestra (1961) ............................ (18:01) 4. I. Fanfare and Allegro .............................. (4:45) 5. II. Intermezzo ........................................... (5:37) 6. III. Finale: Vivace .................................... (7:31) Portland Youth Philharmonic; Jacob Avshalomov, conductor Avshalomov: 7. Cantata: How Long Oh Lord .............................. (14:45) Neil Wilson, baritone; Portland Symphonic Choir, Frank Holman, director Total playing time: 58:30 Ê & © 1994 Composers Recordings Inc. © 2007 Anthology of Recorded Music, Inc. Notes Oregon’s Portland Youth Philharmonic is America’s first accomplishments: Music Is Where You Make It and The youth orchestra, founded in 1924 and celebrating its Concerts Reviewed. seventieth anniversary in the 1993–94 season. A decade ago, An important and ongoing aspect of the Orchestra’s activities a highlight of its sixtieth anniversary was the joint concert has been the commissioning, premiering, and recording of given with the New York Philharmonic and Leonard new works. The Orchestra had a special relationship with the Bernstein en route to a European tour. In 1992, the orchestra late Ernest Bloch, a long-time Oregon resident, and it toured in Japan and Korea. In June 1994, it will make its sixth continues to perform works by David Diamond, Roy Harris, international tour to Germany to play at major venues in Benjamin Lees, William Bergsma, and Robert Ward. The Frankfurt, Stuttgart, Augsburg, Munich, and Berlin.
    [Show full text]
  • Broken-Continuity in Saariaho's Terra Memoria
    Trabzon University State Conservatory © 2017-2020 Volume 4 Issue 2 December 2020 Research Article Musicologist 2020. 4 (2): 227-247 DOI: 10.33906/musicologist.775821 KHENG K. KOAY National Sun Yat-sen University, Taiwan [email protected] orcid.org/ 0000-0001-7941-6559 Broken-Continuity in Saariaho’s Terra Memoria ABSTRACT Terra Memoria is a musical piece that explores timbre, dynamic and KEYWORDS texture, creating an unconventional formal design. Although discontinuity and interruption are experimented with to create a sense Kaija Saariaho of unexpected development in the music’s progress, there are various Terra Memoria means by which Saariaho unifies the composition. Throughout the piece, she explores different musical styles, new musical expressions, and 21st century music compositional techniques in her own unique way. The music shows threads of stylistic connection to conventional music of the past centuries, minimalist-like repetition, and electronic music. Vocal and operatic writing styles are also experimented with. The composition demonstrates Saariaho’s challenge to traditional notions of form, giving her her own music vocabulary. Received: July 30, 2020; Accepted: December 04, 2020 227 Kaija Saariaho (b. 1952) is a Finnish composer, whose compositions contain a very distinctive musical language and personal voice. Throughout the wide range of her output, she has had ways of organizing, building, and expressing her musical thoughts, carefully designing her music to achieve communication with her listeners. Saariaho’s music is approachable, yet rooted in a modernistic tradition. Her interesting ideas and fundamental desire for musical design and unique voice can be heard in Terra Memoria (2009) for string orchestra.
    [Show full text]
  • Lou Harrison Centennial EVA SOLTES EVA
    Please turn off all electronic Photography and audio/video recording devices before entering the in the performance hall are prohibited. performance hall. Lou Harrison Centennial EVA SOLTES EVA DEPARTMENT OF These performances are made possible in part by: PERFORMING ARTS, MUSIC, The P. J. McMyler Musical Endowment Fund AND FILM The Ernest L. and Louise M. Gartner Fund The Cleveland Museum of Art The Anton and Rose Zverina Music Fund 11150 East Boulevard The Frank and Margaret Hyncik Memorial Fund Cleveland, Ohio 44106–1797 The Adolph Benedict and Ila Roberts Schneider Fund The Arthur, Asenath, and Walter H. Blodgett Memorial Fund [email protected] The Dorothy Humel Hovorka Endowment Fund cma.org/performingarts The Albertha T. Jennings Musical Arts Fund #CMAperformingarts Programs are subject to change. Series sponsors: Friday, October 20, 2017 TICKETS 1–888–CMA–0033 cma.org/performingarts Welcome to the PerformingLou Harrison Arts 2017–18 Centennial Cleveland Museum of Art Friday, October 20, 2017, 7:30 p.m. cma.org/performingartsGartner Auditorium, the Cleveland Museum of Art The Cleveland Museum of Art’s performing arts series #CMAperformingarts offers a fascinating concert calendar notable for its boundless multiplicity. This year, visits from old friends Chamber Music in the Galleries CIM Organ Studio Wednesday, October 4, 6:00 Sunday, March 11, 2:00 and new bring century-spanning music from around the Mr. Harrison’s Gamelans globe, exploring cultural connections that link the human Butler, Bernstein & the Hot 9 Wu Man & heart and spirit. Wednesday, October 11, 7:30 Huayin Shadow Puppet Band Suite for Violin and Wednesday,Lou Harrison March 21, (1917–2003) 7:30 Lou Harrison Centennial American Gamelan (1973) & Richard Dee In the Galleries Friday, October 20, 7:30 Chamber Music in the Galleries 1.
    [Show full text]
  • Echoes of the Avant-Garde in American Minimalist Opera
    ECHOES OF THE AVANT-GARDE IN AMERICAN MINIMALIST OPERA Ryan Scott Ebright A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2014 Approved by: Mark Katz Tim Carter Brigid Cohen Annegret Fauser Philip Rupprecht © 2014 Ryan Scott Ebright ALL RIGHTS RESERVED ii ABSTRACT Ryan Scott Ebright: Echoes of the Avant-garde in American Minimalist Opera (Under the direction of Mark Katz) The closing decades of the twentieth century witnessed a resurgence of American opera, led in large part by the popular and critical success of minimalism. Based on repetitive musical structures, minimalism emerged out of the fervid artistic intermingling of mid twentieth- century American avant-garde communities, where music, film, dance, theater, technology, and the visual arts converged. Within opera, minimalism has been transformational, bringing a new, accessible musical language and an avant-garde aesthetic of experimentation and politicization. Thus, minimalism’s influence invites a reappraisal of how opera has been and continues to be defined and experienced at the turn of the twenty-first century. “Echoes of the Avant-garde in American Minimalist Opera” offers a critical history of this subgenre through case studies of Philip Glass’s Satyagraha (1980), Steve Reich’s The Cave (1993), and John Adams’s Doctor Atomic (2005). This project employs oral history and archival research as well as musical, dramatic, and dramaturgical analyses to investigate three interconnected lines of inquiry. The first traces the roots of these operas to the aesthetics and practices of the American avant-garde communities with which these composers collaborated early in their careers.
    [Show full text]
  • ‰7T†ËŽ§)0:¡⁄´ 8`A6föá
    559283 bk Erickson US 2/15/07 11:38 AM Page 8 AMERICAN CLASSICS Robert Continuum® ERICKSON Recent Impressions Two Songs High Flyer Summer Music Continuum Photo © Nan Melville Cheryl Seltzer and Joel Sachs, Directors A CONTINUUM PORTRAIT • 9 8.559283 8 559283 bk Erickson US 2/15/07 11:38 AM Page 2 Two Songs (1986) Robert ERICKSON Texts by the composer (1917-1997) 2 I. Days and Nights 3 II. Seasonal Orchestral, Chamber and Vocal Music Dawn. Morning star Summer sky, bright wonder, green blue. Warm sun rising, Billowing white towers sliding into blue brilliance. 1 Recent Impressions (1987) 16:22 to noon, highest noon. Flowering summer, drifting summer Hot zenith of the sun, soft easy summer. Commissioned for Continuum by Betty Freeman vast sun descending, Cheryl Seltzer, Piano solo • Joel Sachs, Conductor, Piano rolling down the sky Shock! Leaves race the wind slowly, slowly downward, whispering, crackling, gossiping. Chamber Orchestra down to horizon. The wind is autumn’s master. Stripped trees, skeletons, dry brittle. Marina Piccinini, Flute • Marsha Heller, Oboe Dusk. Darkening night, Are they dead? David Krakauer, Clarinet • Celeste Marie Roy, Bassoon deep heaven. David Bilger, Trumpet • Cynthia Jersey, French horn Stars. North star. Winter. Time of darkness Unwobbling pivot, Everything waiting. Jeremy Berkman, Trombone • Erik Charlston, Percussion friend of travelers, counselor Silence. Waiting motionless Mia Wu, Violin • Rachel Evans, Viola companion of the dark night Frozen time. White as a gull’s wing. Maria Kitsopoulos, Cello • Nico Abondolo, Double bass be my guide. White, blinding white. Moon. High rider, fair traveler, Has time stopped? where is your home? Two Songs (1986) 10:51 Where do you rest Spring! Melting watery spring.
    [Show full text]
  • The Choral Works of Robert Ward: a View of His Compositional Approach to Text Settings and His Use of Symbols and Allusions
    THE CHORAL WORKS OF ROBERT WARD: A VIEW OF HIS COMPOSITIONAL APPROACH TO TEXT SETTINGS AND HIS USE OF SYMBOLS AND ALLUSIONS. Carlton S. Tucker, B.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Henry Gibbons, Major Professor and Chair of the Division of Conducting and Ensembles Graham Phipps, Minor Professor and Director of Graduate Studies in the College of Music Jerry McCoy, Committee Member James Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Tucker, Carlton S. The Choral Works of Robert Ward: A View of His Compositional Approach to Text Settings and His Use of Symbols and Allusions. Doctor of Musical Arts (Performance), May 2007, 108 pp., 2 figures, 33 examples, references, 53 titles. Robert Eugene Ward’s impressive body of work encompasses almost every genre of music. He has composed symphonies, operas, large orchestral pieces, chamber works, solo instrumental pieces, extended choral works, short choral pieces, ceremonial works, a ballet, theatre pieces, and even jazz and swing band pieces. Ward’s name is recognized in most musical circles but usually only for his opera The Crucible, a work for which he earned a Pulitzer Prize in 1962. In fact, a survey of all the dissertations, articles, interviews, and books written about Robert Ward shows that the vast majority of these studies focus on his most famous opera. His choral works, though they comprise some of Ward’s most expressive work, have received little attention. Ward’s works show a deliberate use of symbols and allusions.
    [Show full text]