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University Microiilms, a XERQ\Company, Ann Arbor, Michigan
71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ............................................... -
Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009
2008-2009 SEASON i**f Bernard Haitink Conducto M& Seiji Ozawa Music Director Laureate . the Clarendon BACK BAY The Way to Live D nyi m H ' • utt. win j m: in* i ! || |Ifi| »!i»U IB, p !i« on IIP !CfU ' !' r,-—1_ x, 1IINHI Hi !! li ' !! : Ill HI. IHI mil : Il; U J 'I K • ? I! ,1 m nil ; t i :: ^ - INTRODUCING FIVE STAR LIVING™ WITH UNPRECEDENTED SERVICES AND AMENITIES DESIGNED BY ROBERT A.M. STERN ARCHITECTS, LLP ONE TO FOUR BEDROOM LUXURY CONDOMINIUM RESIDENCES STARTING ON THE 15TH FLOOF CORNER OF CLARENDON AND STUART STREETS THE CLARENDON SALES AND DESIGN GALLERY, 14 NEWBURY STREET, BOSTON, MA 617.267.4001 www.theclarendonbackbay.com BRELATED DC/\Lcompai REGISTERED WITH THE U.S. GREEN BUILDING COUN( ANTICIPATED LEED SILVER CERTIFICATION fg> The artist's rendering shown may not be representative of the building. The features described and depicted herein are based upon current development plans, v, No S subject to change without notice. No guarantee is made that said features will be built, or. if built, will be of the same type, size, or nature as depicted or described. prohit agency has judged the merits or value, if any, of this property. This is not an offer where registration is reguired prior to any offer being made. Void where Table of Contents | Week 19 15 BSO NEWS 21 ON DISPLAY IN SYMPHONY HALL 23 BSO MUSIC DIRECTOR JAMES LEVINE 26 THE BOSTON SYMPHONY ORCHESTRA 29 A BRIEF HISTORY OF SYMPHONY HALL 33 A "MULTIPLICITY OF MUSICS": THE PREMIERE OF CHARLES IVES'S SYMPHONY NO. -
2015,3 Interview with Johnny Reinhard
Рецензии, интервью • Reviews, Interviews 2015,3 INTERVIEW WITH JOHNNY REINHARD Anton Rovner: Can you tell me about your the Pompidou Centre. I have held important concert activities with the microtonal festival? concerts of microtonal music in Switzerland, What cities have you performed in the United for which I took eight people from New York, States besides New York, as well as what other where we introduced the music of Harry Partch countries? for concerts in Zurich and Kreuzlingen, and a Johnny Reinhard: I started my musical Zurich Radio broadcast. activities as a bassoonist. During my graduate AR: Can you tell about your microtonal studies in bassoon at the Manhattan School of festival, how it began, where do you perform Music and in ethnomusicology at Columbia and what kind of music do you perform there? University, I began to be interested in JR: In 1980 I received my Master’s degree microtonal music, which I decided to devote from Manhattan School of Music, and I learned to my full time to. In 1981 I founded the American play quartertones on the bassoon, so composers Festival of Microtonal Music, which has been began writing pieces for me. I enrolled in the in existence since then. The festival has held Music Department of Columbia University, performances of numerous musical works where I studied ethnomusicology, and I started incorporating microtones and alternate tunings to learn that different types of music of different by many composers throughout the world, peoples of past ages had different tunings. As both contemporary and from earlier times. In a result, I came up with the idea of a festival addition to that, I have performed with recitals of microtonal music, which would be inter- on the bassoon and with concerts of microtonal stylistic, where I would put together on one stage music in most European countries, different such diverse types of music as Middle Ages and cities across Canada – St. -
1-5 Frontespizio
UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” CENTRO DI STUDI EBRAICI ARCHIVIO DI STUDI EBRAICI III\5 ALOMA BARDI ESOTISMI MUSICALI DEL DIBBUK ISPIRAZIONI DA UN SOGGETTO DEL FOLCLORE EBRAICO UniorPress AdSE III\5 ARCHIVIO DI STUDI EBRAICI DIRETTO DA GIANCARLO LACERENZA REDAZIONE: DIANA JOYCE DE FALCO, DOROTA HARTMAN CENTRO DI STUDI EBRAICI DIPARTIMENTO ASIA, AFRICA E MEDITERRANEO UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” PIAZZA S. DOMENICO MAGGIORE 12, 80134 NAPOLI TEL.+39 0816909675 - FAX.+39 0815517852 E-MAIL: [email protected] In copertina: Solomon Epstein, The Dybbuk: An Opera in Yiddish in Three Acts. Atto III, Scena 7 (Finale dell’opera): la sposa velata; trasfigurazione e morte di Leah. Il soprano Camilla Griehsel nella parte di Leah; regia Rachel Michaeli. Suzanne Dellal Centre for Dance and Theatre, Tel Aviv, 2 maggio 1999. Used by permission. © Rachel Michaeli, [email protected] ISBN 978-88-6719-056-0 Prodotto da IL TORCOLIERE – Officine Grafico-Editoriali di Ateneo © Università degli Studi di Napoli “L’Orientale” 2014 Edizione digitale UniorPress - 2020 UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” CENTRO DI STUDI EBRAICI ARCHIVIO DI STUDI EBRAICI III\5 ALOMA BARDI ESOTISMI MUSICALI DEL DIBBUK ISPIRAZIONI DA UN SOGGETTO DEL FOLCLORE EBRAICO Napoli 2014 A Gabriele Boccaccini con gratitudine per quello che mi ha insegnato sull’ebraismo e ancor di più per il suo esempio di studioso AB SOMMARIO PREFAZIONE Il dramma Der Dybuk di S. An-Ski e la musica 11 I. RICERCA ETNOGRAFICA E ORIGINI DELL’INTERESSE MUSICALE 15 An-Ski e la musica del Dibbuk 17 Le musiche di scena di Yoel Engel 22 Le trascrizioni di A.Z. -
Music Inspired by Astronomy, Organized by Topic an Annotated Listing by Andrew Fraknoi
Music Inspired by Astronomy, Organized by Topic An Annotated Listing by Andrew Fraknoi © copyright 2019 by Andrew Fraknoi. All rights reserved. Used with permission. Borresen: At Uranienborg Cage: Atlas Eclipticalis Glass: Orion Connections between astronomy and music have been proposed since the time of the ancient Greeks. This annotated listing of both classical and popular music inspired by astronomy restricts itself to music that has connections to real science -- not just an astronomical term or two in the title or lyrics. For example, we do not list Gustav Holst’s popular symphonic suite The Planets, because it draws its inspiration from the astrological, and not astronomical, characteristics of the worlds in the solar system. Similarly, songs like Soundgarden’s “Black Hole Sun” or the Beatles’ “Across the Universe” just don’t contain enough serious astronomy to make it into our guide. When possible, we give links to a CD and a YouTube recording or explanation for each piece. The music is arranged in categories by astronomical topic, from asteroids to Venus. Additions to this list are most welcome (as long as they follow the above guidelines); please send them to the author at: fraknoi {at} fhda {dot} edu Table of Contents Asteroids Meteors and Meteorites Astronomers Moon Astronomy in General Nebulae Black Holes Physics Related to Astronomy Calendar, Time, Seasons Planets (in General) Comets Pluto Constellations Saturn Cosmology SETI (Search for Intelligent Life Out There) Earth Sky Phenomena Eclipses Space Travel Einstein Star Clusters Exoplanets Stars and Stellar Evolution Galaxies and Quasars Sun History of Astronomy Telescopes and Observatories Jupiter Venus Mars 1 Asteroids Coates, Gloria Among the Asteroids on At Midnight (on Tzadik). -
Chapter 29: National Monuments I. Introduction A. Modernism Existed
Chapter 29: National Monuments I. Introduction A. Modernism existed in places other than Austro-Germany or France. B. After the defeat of Germany in 1918, music became increasingly international in Europe and the United States. II. Outskirts of Western Europe A. Sibelius 1. Sibelius was one of the earliest of these composers to become famous internationally. 2. His life established a pattern that many subsequent composers followed: traditional music training abroad, study with Modernist composers, interest in his own national traditions, fame at home that resulted in an international reputation. 3. From Finland and speaking Swedish (because of Swedish domination of Finnish culture and politics), Sibelius studied with Busoni in Helsinki. 4. He then studied in Berlin and Vienna. 5. Wagner was an early influence, later Strauss and Debussy. 6. Sibelius’ native interest followed similar strains in music by Tchaikovsky and Grieg. 7. He used Finnish native literature, such as epic poetry (see his Kalevala), in his music. 8. Sibelius’ most famous tone poem was Finlandia (1900). a. It aided in Finland’s struggle for independence from Russia. b. It became an unofficial national anthem. 9. His symphonies and Violin Concerto owe some debt to Tchaikovsky. 10. Sibelius wrote less and less as he got older, even though he became something of a national monument (his birthday is a national holiday). He came to be seen as the embodiment of “The North.” B. England 1. Since the eighteenth century, England’s musical life was dominated by imported composers. This changed in the late nineteenth century. 2. Elgar was the most prominent English composer at the turn of the century. -
Ives, Charles | Grove Music
Grove Music Online Ives, Charles (Edward ) J. Peter Burkholder, James B. Sinclair and Gayle Sherwood Magee https://doi.org/10.1093/gmo/9781561592630.article.A2252967 Published in print: 26 November 2013 Published online: 16 October 2013 Charles Ives. Lebrecht Music and Arts (b Danbury, CT, Oct 20, 1874; d New York, NY, May 19, 1954). American composer. His music is marked by an integration of American and European musical traditions, innovations in rhythm, harmony, and form, and an unparalleled ability to evoke the sounds and feelings of American life. He is regarded as the leading American composer of art music of the early 20th century. Page 1 of 92 PRINTED FROM Oxford Music Online. © Oxford University Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single article in Oxford Music Online for personal use (for details see Privacy Policy). 1. Unusual aspects of Ives’s career. Ives had an extraordinary working life. After professional training as an organist and composer, he worked in insurance for 30 years, composing in his free time. He used a wide variety of styles, from tonal Romanticism to radical experimentation, even in pieces written during the same period, and in his mature music frequently used multiple styles within a single work as a formal and expressive device. His major works often took years from first sketch to final revisions, and most pieces lay unperformed for decades. His self- publications in the early 1920s brought a small group of admirers who worked to promote his music. -
CMS Southern Chapter Regional Conference
1 CMS Southern Chapter Regional Conference February 25 – 27, 2021 Virtual Conference 2 A Message from the CMS Southern Chapter President Welcome to the 42nd Annual Conference of the CMS Southern Chapter! What a wonderful conference we had last year in Nashville at Vanderbilt, though it would end up being one of the few CMS regional conferences that took place in the spring. The year 2020 was indeed a difficult one, with a global pandemic, severe economic hardship and uncertainty, and a polarizing political climate during an election year. Like many other CMS chapters, we’re holding our conference online this year, and preparing for this conference has been unlike any other year in the 42 years of existence. But we charge ahead! This year’s conference will include all of the excellent performances, demonstrations, papers, posters, panels, and concerts that would occur during any year. Oral presentations (papers, panels, demonstrations, lecture recitals, and posters) will occur via Zoom meetings hosted by the session chair. All concerts will also occur on Zoom, and performances are pre- recorded and shared during the event by the session host. AirMeet will serve as our platform for hosting all Zoom sessions. Links to sessions are found in the AirMeet link (provided to all registrants via email). We are honored to have Dr. Gloria Ladson-Billings as our keynote speaker this year. Dr. Ladson-Billings is a renowned pedagogical theorist and teacher/educator. She will be joining us via Zoom on Saturday at 1pm for a presentation and Q&A session regarding her research as well as the powerful role music can play in change, reconstruction, and inclusivity. -
Dear Paul. Mr. William Mcclellan Music Library
Mr. William McClellan Music Library 'f.iusic Building Urbana IL 61801 Dear Paul. This is to acknowledge receipt of your recent gift of 52 scores and editions of music that you donated to the Music Library. These materials will be added to the resources of the Music Library. We appreciate your thoughtfulness and thank you for deliverinB them to the library. Although we caa't be quoted as the official source for estimatins the value ~these scores and editions, we have~stimated that the total collection (see checklist below} is worth $180.~ according to the current market value for this material. I hope that you are having a pleasant break between semesters. Zonn. LAtter - Images for Double - reed Quintet (1978) Hackbarth. Traiings for Trombone and ~ublebi&ss........ (1974) (2 scores) wylie. Imagi (scoreO Karline. Lamentations - In Memoriam (score) Zonn. Liberate. I (score) Zonn. Revolutions for solo clarinet Zonn. XOE for 4 timpani and snare drum (parts) Zonn. One Slow Turn ot the World (score) Zonn. Varia V (score) Zonn Li-Po, for contralto (or baritone) and Chamber Ensemble (score) Zonn. Duplum for violin and piano (p~aB) (score and part) Zonn. Red Wiggler for solo tuba Zonn. Organon for organ. Zonn. String quartet no. 1 (1960t (score and parts) Zonn Virtuoso Music solo violin Zonn Miroditties (soore) Zonn. Compositions for quartet: for flute, oboe, clarinet, bassoon (score and 4 parts) Zonn. Cello Music Zonn. Grunge, for solo flute Zonn. I love my lady: Madrigal tor 3 male voices and 3 clarinets (3 scores and 3 parts) r page 2 Zonn. -
2. Space-Time Movements in György Ligeti's Piano Concerto
V. New Music and Beyond: Music-Historical and Cultural Entanglements 363 2. Space-Time Movements in György Ligeti’s Piano Concerto: Polymeter and Conflicting Meter in Historical and Intercultural Perspective György Ligeti’s “Space-Time” and the “Generalized Hemiola” The polyglot, boundary-defying conceptions of György Ligeti, driven by artistic curiosity, have been widely praised, and his collected writings published in German posthumously in 2007 impressively demonstrate the rhizome-like ramifications of his thinking in and about mu- sic, as also aptly demonstrated by the polymorphic vividness of the structures in his music since Apparitions (1958–59). From the very beginning, Ligeti, in his own energetic manner, ab- sorbed impulses from often heterogeneous areas of the arts and sciences, and idiosyncratical- ly interwove them into an asymmetrical, open maze of sounds and thoughts. Still, it should be emphasized how intensively, but also “art-typically” Ligeti engaged with scientific thinking, especially since the beginning of the 1980s, for example in the areas of chaos theory, fractal geometry, and artificial intelligence. At the beginning of his essay “Paradigmenwechsel der achtziger Jahre” (1988), Ligeti emphasizes that he does not write “‘scientific’ music, do[es] not use calculations, nor algorithms […], realize[s] only [his] own ideas, but deal[s] with analogous ideas from other areas. Complexity or complex patterns have always attracted [him].”74 Not least, Ligeti’s view of European or indeed “global” music history was given -
CHARLES IVES and DEMOCRACY: ASSOCIATION, BORROWING, and TREATMENT of DISSONANCE in HIS MUSIC Chelsey Lynne Hamm Submitted To
CHARLES IVES AND DEMOCRACY: ASSOCIATION, BORROWING, AND TREATMENT OF DISSONANCE IN HIS MUSIC Chelsey Lynne Hamm Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Jacobs School of Music, Indiana University December, 2016 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee ______________________________________ Marianne Kielian-Gilbert, Ph.D. ______________________________________ J. Peter Burkholder, Ph.D. ______________________________________ Blair Johnston, Ph.D. ______________________________________ Andrew Mead, Ph.D. December 8, 2016 ii Copyright © 2016 Chelsey Lynne Hamm iii Acknowledgements This introduction is just put in, now and later, to be more polite. –Charles Ives, Memos1 A dissertation is not the product of one scholar alone. A large number of people, organizations, and institutions have helped me to produce this work, and I would like to set forth my acknowledgement of and sincere thanks for their help. First, I would like to thank the Ives scholars who have helped to shape the questions asked and the answers sought in this dissertation. Working with Professors Timothy Johnson, Denise Von Glahn, and J. Peter Burkholder in each stage of my academic career—my undergraduate, masters, and doctoral programs respectively—has been enormously influential on how I think about Ives and his music. Second, I would like to thank Indiana University, the Jacobs School of Music, and the music theory department at IU for their sponsorship of my scholarship and conference travel throughout the first four years of my doctorate. Without this sponsorship, I would have not have been able to complete my Ph.D. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: 26-May-2010 I, Thomas J. Kernan , hereby submit this original work as part of the requirements for the degree of: Master of Music in Music History It is entitled: The Percussion Group Cincinnati: A History of Collaboration between Ensemble and Composer Student Signature: Thomas J. Kernan This work and its defense approved by: Committee Chair: bruce mcclung, PhD bruce mcclung, PhD 6/6/2010 796 The Percussion Group Cincinnati: A History of Collaboration between Ensemble and Composer A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in Music History in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Thomas J. Kernan B.M. University of Missouri-Kansas City May 2005 Committee Chair: bruce d. mcclung, Ph.D. ii Abstract The Percussion Group Cincinnati, an ensemble-in-residence at the University of Cincinnati’s College-Conservatory of Music, celebrated its thirtieth anniversary in 2009. In its first three decades, this trio collaborated with at least fifty composers, several of whom have contributed multiple compositions. The more than seventy works composed expressly for the ensemble comprise the core of its performance repertoire. While the members have amassed a sizable body of chamber percussion compositions, their primary goal has remained the process of collaborating. Whereas comparator ensembles measure success by their number of recordings, performances at specific events, or notoriety among various communities, the Percussion Group Cincinnati can be best understood through a careful consideration of its interactions with composers.