Ives: American Visions, American Voices Chapman Orchestra
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Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
The Society for American Music
The Society for American Music Thirty-Fourth Annual Conference 1 RIDERS IN THE SKY 2008 Honorary Members Riders In The Sky are truly exceptional. By definition, empirical data, and critical acclaim, they stand “hats & shoulders” above the rest of the purveyors of C & W – “Comedy & Western!” For thirty years Riders In The Sky have been keepers of the flame passed on by the Sons of the Pioneers, Gene Autry and Roy Rogers, reviving and revitalizing the genre. And while remaining true to the integrity of Western music, they have themselves become modern-day icons by branding the genre with their own legendary wacky humor and way-out Western wit, and all along encouraging buckaroos and buckarettes to live life “The Cowboy Way!” 2 Society for American Music Thirty-Fourth Annual Conference 3 Society for American Music Thirty-Fourth Annual Conference Hosted by Trinity University 27 February - 2 March 2008 San Antonio, Texas 2 Society for American Music Thirty-Fourth Annual Conference 3 4 Society for American Music Thirty-Fourth Annual Conference 5 Welcome to the 34th annual conference of the Society for American Music! This wonderful meeting is a historic watershed for our Society as we explore the musics of our neighbors to the South. Our honorary member this year is the award-winning group, Riders In The Sky, who will join the San Antonio Symphony for an unusual concert of American music (and comedy). We will undoubtedly have many new members attending this conference. I hope you will welcome them and make them feel “at home.” That’s what SAM is about! Many thanks to Kay Norton and her committee for their exceptional program and to Carl Leafstedt and his committee for their meticulous attention to the many challenges of local arrangements. -
Media – History
Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. -
Leonard Bernstein's the Age of Anxiety
PHILIP GENTRY Leonard Bernstein’s The Age of Anxiety: A Great American Symphony during McCarthyism In 1949, shortly after Harry Truman was sworn into his first full term as president, a group of American writers, artists, scientists, and other public intellectuals organized a “Cultural and Scientific Conference for World Peace,” to be held at the Waldorf-Astoria Hotel in New York City. They were joined by a number of their counterparts in the Soviet Union, or at least as many as could procure a visa from the US State Department. Most prominent among the visitors was composer Dmitri Shostakovich, who through an interpreter delivered a lecture on the dangers of fascist influence in music handcrafted for the occasion by the Soviet govern- ment. The front-page headline in the New York Times the next morning read, “Shostakovich Bids All Artists Lead War on New ‘Fascists.’”1 The Waldorf-Astoria conference was at once the last gasp of the Popu- lar Front, and the beginning of the anticommunist movement soon to be known as McCarthyism. Henry Wallace’s communist-backed third- party bid for the presidency the previous fall had garnered 2.4 percent of the popular vote, but the geopolitical tensions undermining the Popu- lar Front coalition since the Nazi-Soviet Pact of 1939 were out in plain view a decade later. Once-communist intellectuals, like Irving Kristol and Dwight MacDonald, vigorously protested Stalinist influence on the conference, and in an ominous preview of the populist attraction of an- ticommunism, thousands of New Yorkers protested on the streets out- side. -
Week 2 Bernard Haitink | Conductor Emeritus Seiji Ozawa
2012–2013 season | Week 2 season sponsors Bernard Haitink | Conductor Emeritus Seiji Ozawa | Music Director Laureate Table of Contents | Week 2 7 bso news 13 on display in symphony hall 14 the boston symphony orchestra 17 a brief history of the bso 20 this week’s program Notes on the Program 22 The Program in Brief… 23 Pyotr Ilyich Tchaikovsky 27 Leonard Bernstein 33 Ervín Schulhoff 39 Antonín Dvorákˇ 47 To Read and Hear More… Artists 51 Marcelo Lehninger 53 Joshua Bell 55 Hawthorne String Quartet 58 sponsors and donors 72 future programs 74 symphony hall exit plan 75 symphony hall information the friday preview talk on october 5 is given by bso director of program publications marc mandel. program copyright ©2012 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO concertmaster Malcolm Lowe by Stu Rosner BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013 trustees of the boston symphony orchestra, inc. Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Theresa M. Stone, Treasurer William F. Achtmeyer • George D. Behrakis • Alan Bressler† • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles W. -
Dvořák in America
College of Fine Arts presents Dvořák in America UNLV Symphony Orchestra Taras Krysa, Music Director and Conductor PROGRAM Suite in A Major, Opus 98, B. 184 (“American”) Antonín Dvořák Allegretto (1841–1904) Andante Allegro Maria Kolesnyk, piano Commentary by Joseph Horowitz Suite in A Major, Opus 98, B. 190 (“American”) Antonín Dvořák I. Andante con moto (1841–1904) II. Allegro III. Moderato (alla polacca) IV. Andante V. Allegro Visual presentation by Peter Bogdanoff INTERMISSION Porgy and Bess Concert Suite George Gershwin arr. Robert Russell Bennett Summertime (1898–1937) A Woman is a Sometime Thing My Man’s Gone Now I Got Plenty o’ Nuttin’ Bess, You is My Woman Now It Ain’t Necessarily So O Lawd, I’m on My Way Karin Hochman, soprano Kevin Deas, bass-baritone You are invited to stay for a post-concert discussion with the artists and Dean Nancy J. Uscher. Sunday, April 7, 2019 3:00 p.m. Artemus W. Ham Concert Hall Performing Arts Center University of Nevada, Las Vegas PROGRAM NOTES Of the two works on today’s program, Gershwin’s Porgy and Bess is famous. Dvořák’s American Suite remains virtually unknown. And yet both are products of Dvorak’s 1892 prophecy that “Negro melodies” would foster a great “school of American music.” In nineteenth century classical music, the composer as tourist is a familiar phenomenon. Italy was a favorite destination. Mendelssohn, Berlioz, Liszt, and Tchaikovsky, among others, composed famous keyboard and symphonic works keying on gondolas and the Italian Alps, Giotto and Michelangelo. But Tchaikovsky’s Capriccio Italien, with its Roman carnival, still sounds like Tchaikovsky. -
Invigorating the American Orchestral Tradition Through New Music
FEARLESS PROGRAMMING: INVIGORATING THE AMERICAN ORCHESTRAL TRADITION THROUGH NEW MUSIC Octavio Más-Arocas A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2016 Committee: Emily Freeman Brown, Advisor Timothy F. Messer-Kruse Graduate Faculty Representative Marilyn Shrude Kenneth Thompson © 2016 Octavio Más-Arocas All Rights Reserved iii ABSTRACT Emily Freeman Brown, Advisor Despite great efforts by American composers, their prodigious musical output has been mostly ignored by American orchestras. Works by living American composers account for an annual average of only 6% of all the music performed by American orchestras, while works by living composers of all nationalities combined totals a meager 11%. This study examines some of the historical breaking points in the relationship between American orchestras and new music. Five exceptional orchestras are cited, the New York Philharmonic, Los Angeles Philharmonic, Chicago Symphony Orchestra, the Atlanta Symphony, and the Seattle Symphony, that are thriving while successfully incorporating new music in their programing. This document draws attention to the significant role new music can play in the future of American orchestras by analyzing the programing of new music and projects that support composers, identifying innovative orchestral leaders and composers who have successfully served in advisory positions, and by recognizing and discussing the many creative strategies orchestras are using today. This document attempts to increase the understanding of the need for change in concert programing while highlighting several thrilling examples of innovative strategies that are making an essential contribution to the future of orchestral music. -
Download Booklet
AMERICAN CLASSICS DVOŘÁK AND AMERICA Hiawatha Melodrama American Suite Farwell: Navajo War Dance • Pawnee Horses Kevin Deas, Narrator/Bass-baritone • Benjamin Pasternack, Piano PostClassical Ensemble • Angel Gil-Ordóñez Arthur Farwell (1872-1952): DVOŘÁK AND AMERICA ^ Navajo War Dance No. 2, Op. 29 (1904) 3:13 Joseph Horowitz (b. 1948) and Michael Beckerman (b. 1951): & Mesa and Plain, Op. 20: Hiawatha Melodrama (after Dvořák) (arr. Angel Gil-Ordóñez) (2013) 32:50 No. 2. Pawnee Horses (1905) 1:17 Text: Henry Wadsworth Longfellow (1807-82) 1 I. Prologue 1:16 * Pawnee Horses (version for chorus), Op. 102 (1937) 2:09 2 II. Hiawatha’s Wooing 9:55 WORLD PREMIÈRE RECORDING 3 III. Hiawatha’s Wedding Feast 5:30 4 IV. The Death of Minnehaha 5:38 5 V. The Hunting of Pau-Puk-Keewis 8:02 Recorded at Clarice Smith Performing Arts Center, College Park, Maryland, USA, 6 VI. Epilogue: Hiawatha’s Departure 2:29 on 2nd March, 2013 (tracks 1-7, 9-15, 17); at Potton Hall, Westleton, Suffolk, UK, WORLD PREMIÈRE RECORDING on 2nd and 3rd September, 1998 (track 8); at the Toronto Centre for the Arts, Canada, on 20th August, 2003 (track 16); and at Bates Recital Hall, Austin, Texas, USA, William Arms Fisher (1861-1948): on 5th May, 2013 (track 18) 7 Goin’ Home (after Dvořák’s Symphony No. 9 in E minor, Op. 95, B. 178 ‘From the New World’: II. Largo) (1922) 6:13 Produced, engineered and edited by Antonino D’Urzo, Opusrite™ (tracks 9-15, 17); Text: William Arms Fisher Michael Ponder (track 8); Norbert Kraft and Bonnie Silver (track 16); Dan Himgson and Mark Sarisky (track 18). -
The American Bassoon School: 1900–1950
The American Bassoon School: 1900–1950 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music November 2016 by Jessica Esther Garduno-Albo BA, Escuela de Música Ollin Yoliztli, 1998 MM, University of Cincinnati, 2004 Committee Chair: bruce d. mcclung, PhD ABSTRACT The development of the American bassoon school was the result of three, not two influences, as has been previously purported.1 These influences were American conductors’ aesthetic ideas; European musicians from different musical schools emigrating to the United States and playing in its orchestras, and teaching in the most important music schools in the country; and the assimilation of students who would subsequently become the first generation of American-trained bassoonists. The methodology for this study includes primary and secondary sources, the comparison and contrast of sound spectrum and sound wave analysis of recordings made by the conductors and players from this time period, and the examination of scores that some of these bassoonists edited. The elements compared in this study are the preferences for a type of instrument and its tone color, a controlled vibrato, and the use of detailed phrasing, which will be studied through articulations and dynamics. This comparison shows connections among the different elements and influences on the American bassoon school. This study aims to present an historical and stylistic overview of the American bassoon school and to argue for three influences. 1 David McGill, Sound in Motion: A Performer’s Guide to Greater Musical Expression (Bloomington and Indianapolis: Indiana University Press, 2007), 4. -
View of Leonard Bernstein and NYP on Carnegie Hall Stage
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Leonard Bernstein's and Roger Englander's Educational Mission: Music Appreciation and the 1961-62 Season of Young People's Concerts John Christian MacInnis Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LEONARD BERNSTEIN‘S AND ROGER ENGLANDER‘S EDUCATIONAL MISSION: MUSIC APPRECIATION AND THE 1961-62 SEASON OF YOUNG PEOPLE‘S CONCERTS By JOHN CHRISTIAN MACINNIS A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2009 Copyright © 2009 John MacInnis All Rights Reserved The members of the Committee approve the Thesis of John Christian MacInnis defended on March 30, 2009. ______________________________ Michael E. Broyles Professor Directing Treatise ______________________________ Charles E. Brewer Committee Member ______________________________ Frank D. Gunderson Committee Member The Graduate School has verified and approved the above named committee members. ii This thesis is dedicated to the glory of God and in memory of Florence Christina Sutherland. I am reminded of your sincere faith, a faith that dwelt first in your grandmother Lois and your mother Eunice and now, I am sure, dwells in you as well. II Timothy 1:5 iii TABLE OF CONTENTS List of Tables .............................................................................................................................. -
Notesspring2002.Pdf
SPRING/SUMMER 2002 ANNETTE LEIN Lou Ouzer, pictured here in 2000, was always more comfortable behind the camera than before it. LOUIS OUZER 1913–2002 Eastman loses a cherished friend The Eastman community was deeply saddened by the death on February 14 of Louis Ouzer, acclaimed photographer and cherished friend of so many at the School. Ouzer created countless images of Eastman’s peo- ple and architecture over a span of more than 60 years. “I decided on my own that I was going to docu- ment the School,” he said, and indeed, hundreds of celebrated musicians, historic events, and everyday activities on and around the campus were captured by his lens. As a tribute to the man who spent his lifetime memorializing Eastman, the School held a special pro- gram in Ouzer’s honor on March 30 in Kilbourn Hall. The event included remarks by Director and Dean James Undercofler, family members and close friends, and performances by the Eastman Trombone Choir and members of Eastman faculty. Three of the four pieces performed were Ouzer’s own compositions. (He began studying composition and piano at East- man at age 75.) LOUIS OUZER Closing the service were readings selected by Clockwise: A 1957 portrait of contralto Marian Anderson, a 1977 abstract of a Ouzer’s family and a slide presentation of his wide- cellist, and a 1978 candid shot of friends Marian McPartland and Alec Wilder ranging images with accompaniment by Professor of in front of Ouzer’s studio. Oboe Richard Killmer. ❧ INSIDE VOL. 21/NO. 25 SPRING/SUMMER 2002 Published twice a year by the Office -
Shaping American Identity Through Music: Nationality, Taste, and Power at the Cincinnati May Festival, 1873-1905
Shaping American Identity through Music: Nationality, Taste, and Power at the Cincinnati May Festival, 1873-1905. by Mishona Collier A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts In Music and Culture Carleton University Ottawa, Ontario © 2013 Mishona Collier Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du 1+1Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-94623-7 Our file Notre reference ISBN: 978-0-494-94623-7 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.