Charles Seeger's Theories on Music and Class Structure
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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
Insights Into the Padrone, and Opera by George Whitefield Chadwick
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2004 American Verismo?: insights into The aP drone, and opera by George Whitefield hC adwick (13 November 1854 - 4 April 1931) Jon Steffen Truitt Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Truitt, Jon Steffen, "American Verismo?: insights into The aP drone, and opera by George Whitefield Chadwick (13 November 1854 - 4 April 1931)" (2004). LSU Doctoral Dissertations. 304. https://digitalcommons.lsu.edu/gradschool_dissertations/304 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. AMERICAN VERISMO? INSIGHTS INTO THE PADRONE, AN OPERA BY GEORGE WHITEFIELD CHADWICK (13 NOVEMBER 1854 – 4 APRIL 1931) A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Jon Steffen Truitt B.M., Baylor University, 1996 M.M., Baylor University, 1999 May 2004 AKNOWLEDGEMENTS I wish to thank the members of my committee: Dr. Lori Bade, Professor Robert Grayson, and Dr. Robert Peck for their support. I especially thank my major professor and the chair of my committee, Dr. Kyle Marrero, for his support and encouragement throughout my degree program. Thanks are also due to Dr. -
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. -
The John and Anna Gillespie Papers an Inventory of Holdings at the American Music Research Center
The John and Anna Gillespie papers An inventory of holdings at the American Music Research Center American Music Research Center, University of Colorado at Boulder The John and Anna Gillespie papers Descriptive summary ID COU-AMRC-37 Title John and Anna Gillespie papers Date(s) Creator(s) Repository The American Music Research Center University of Colorado at Boulder 288 UCB Boulder, CO 80309 Location Housed in the American Music Research Center Physical Description 48 linear feet Scope and Contents Papers of John E. "Jack" Gillespie (1921—2003), Professor of music, University of California at Santa Barbara, author, musicologist and organist, including more than five thousand pieces of photocopied sheet music collected by Dr. Gillespie and his wife Anna Gillespie, used for researching their Bibliography of Nineteenth Century American Piano Music. Administrative Information Arrangement Sheet music arranged alphabetically by composer and then by title Access Open Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the American Music Research Center. Preferred Citation [Identification of item], John and Anna Gillespie papers, University of Colorado, Boulder Index Terms Access points related to this collection: Corporate names American Music Research Center - Page 2 - The John and Anna Gillespie papers Detailed Description Bibliography of Nineteenth-Century American Piano Music Music for Solo Piano Box Folder 1 1 Alden-Ambrose 1 2 Anderson-Ayers 1 3 Baerman-Barnes 2 1 Homer N. Bartlett 2 2 Homer N. Bartlett 2 3 W.K. Bassford 2 4 H.H. Amy Beach 3 1 John Beach-Arthur Bergh 3 2 Blind Tom 3 3 Arthur Bird-Henry R. -
The-Golden-Web-Barnouw.Pdf
THE GOLDEN WE; A HISTORY OF BROADCASTING IN THE UNITED STA TES 1933-195 r_ ERIK BARNOUW s 11*. !,f THE GOLDEN WEB A History of Broadcasting in the United States Volume II, 1933 -1953 ERIK BARNOUW The giant broadcasting networks are the "golden web" of the title of this continuation of Mr. Bamouw's definitive history of Amer- ican broadcasting. By 1933, when the vol- ume opens, the National Broadcasting Com- pany was established as a country -wide network, and the Columbia Broadcasting System was beginning to challenge it. By 1953, at the volume's close, a new giant, television, had begun to dominate the in- dustry, a business colossus. Mr. Barnouw vividly evokes an era during which radio touched almost every Ameri- can's life: when Franklin D. Roosevelt's "fireside chats" helped the nation pull through the Depression and unite for World War II; other political voices -Mayor La Guardia, Pappy O'Daniel, Father Coughlin, Huey Long -were heard in the land; and overseas news -broadcasting hit its stride with on-the -scene reports of Vienna's fall and the Munich Crisis. The author's descrip- tion of the growth of news broadcasting, through the influence of correspondents like Edward R. Murrow, H. V. Kaltenborn, William L. Shirer, and Eric Sevareid, is particularly illuminating. Here are behind- the -scenes struggles for power -the higher the stakes the more im- placable- between such giants of the radio world as David Sarnoff and William S. Paley; the growing stranglehold of the ad- vertising agencies on radio programming; and the full story of Edwin Armstrong's suit against RCA over FM, with its tragic after- math. -
Toscanini SSB Sib6
STAR SPANGLED MUSIC EDITIONS The Star-Spangled Banner for Orchestra (1943, revised 1951) Original Tune By JOHN STAFFORD SMITH Arranged and Orchestrated By ARTURO TOSCANINI Full Score Star Spangled Music Foundation www.starspangledmusic.org STAR SPANGLED MUSIC EDITIONS The Star-Spangled Banner for Orchestra (1943, revised 1951) Original Tune By JOHN STAFFORD SMITH Arranged and Orchestrated By ARTURO TOSCANINI 06/14/2014 Imprint Star Spangled Music Foundation www.starspangledmusic.org Star Spangled Music Editions Mark Clague, editor Performance materials available from the Star Spangled Music Foundation: www.starspangledmusic.org Published by the Star Spangled Music Foundation Musical arrangement © 1951 Estate of Arturo Toscanini, used by permission This edition © 2014 by the Star Spangled Music Foundation Ann Arbor, MI Printed in the U.S.A. Music Engraving: Michael-Thomas Foumai & Daniel Reed Editorial Assistance: Barbara Haws, Laura Jackson, Jacob Kimerer, and Gabe Smith COPYRIGHT NOTICE Toscanini’s arrangement of “The Star-Spangled Banner” is made in cooperation with the conductor’s heirs and the music remains copyrighted by the Estate of Arturo Toscanini ©1951. Prefatory texts and this edition are made available by the Star Spangled Music Foundation ©2014. SUPPORT STAR SPANGLED MUSIC EDITIONS This edition is offered free of charge for non-profit educational use and performance. Other permissions can be arranged through the Estate of Arturo Toscanini. We appreciate notice of your performances as it helps document our mission. Please consider making a tax-deductible donation to the Star Spangled Music Foundation to support this effort. The Star Spangled Music Foundation is a 501(c)(3) non-profit organization. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
March 1936) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 3-1-1936 Volume 54, Number 03 (March 1936) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 54, Number 03 (March 1936)." , (1936). https://digitalcommons.gardner-webb.edu/etude/842 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]. 'IPJg ETUDE <JXCagazine WHAT DOES IT TAKE TO MAKE A SINGER?" by Richard Crooks /Jte a &fieturte Toveas) rrvuAic NEW DITSON PUBLICATION MORRISON ORCHESTRAL UNIONS By DON MORRISON A Musical Revue A system of Relay Solos for train¬ By GERTRUDE VAN AKIN ™.TH ^ ^ ing young orchestras Interesting Invaluable for Vocal Score and Dialog"® direction8 and dance steps, may be had Instructive Exhibitions STAGE GUIDE, with ful^ d"e month or fraction thereof. Practical on a rental h™^™JZs,ed popular music and forms of This musical reYu^ °f ^gt jg unique among materials for school or Planned equally lor all i™1™" •„ Illustrates vividly variety * «lg*“,on entertainment of the P h n„e from the usual operetta, offers Builds intonation and tone quai ty Follows any first-year instrumental class •“inUto°o”aoS»^-y *»<! ■-■> ”*y b,! ,,erI<>rmtd "‘k method anv number of players.___ book one 1. -
Durham E-Theses
Durham E-Theses English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene ROBINSON, ALICE,MERIEL How to cite: ROBINSON, ALICE,MERIEL (2021) English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13924/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 English Folk under the Red Flag: The Impact of Alan Bush’s ‘Workers’ Music’ on 20 th Century Britain’s Left-Wing Music Scene Alice Robinson Abstract Workers’ music: songs to fight injustice, inequality and establish the rights of the working classes. This was a new, radical genre of music which communist composer, Alan Bush, envisioned in 1930s Britain. -
Academiccatalog 2017.Pdf
New England Conservatory Founded 1867 290 Huntington Avenue Boston, Massachusetts 02115 necmusic.edu (617) 585-1100 Office of Admissions (617) 585-1101 Office of the President (617) 585-1200 Office of the Provost (617) 585-1305 Office of Student Services (617) 585-1310 Office of Financial Aid (617) 585-1110 Business Office (617) 585-1220 Fax (617) 262-0500 New England Conservatory is accredited by the New England Association of Schools and Colleges. New England Conservatory does not discriminate on the basis of race, color, religion, sex, age, national or ethnic origin, sexual orientation, physical or mental disability, genetic make-up, or veteran status in the administration of its educational policies, admission policies, employment policies, scholarship and loan programs or other Conservatory-sponsored activities. For more information, see the Policy Sections found in the NEC Student Handbook and Employee Handbook. Edited by Suzanne Hegland, June 2016. #e information herein is subject to change and amendment without notice. Table of Contents 2-3 College Administrative Personnel 4-9 College Faculty 10-11 Academic Calendar 13-57 Academic Regulations and Information 59-61 Health Services and Residence Hall Information 63-69 Financial Information 71-85 Undergraduate Programs of Study Bachelor of Music Undergraduate Diploma Undergraduate Minors (Bachelor of Music) 87 Music-in-Education Concentration 89-105 Graduate Programs of Study Master of Music Vocal Pedagogy Concentration Graduate Diploma Professional String Quartet Training Program Professional -
A Tribute to Led Zeppelin from Hell's Kitchen Liner Notes
Led Blimpie: A Tribute to Led Zeppelin from Hell’s Kitchen Liner Notes Originally begun as a 3 song demo, this project evolved into a full-on research project to discover the recording styles used to capture Zeppelin's original tracks. Sifting through over 3 decades of interviews, finding the gems where Page revealed his approach, the band enrolled in “Zeppelin University” and received their doctorate in “Jimmy Page's Recording Techniques”. The result is their thesis, an album entitled: A Tribute to Led Zeppelin from Hell's Kitchen. The physical CD and digipack are adorned with original Led Blimpie artwork that parodies the iconic Zeppelin imagery. "This was one of the most challenging projects I've ever had as a producer/engineer...think of it; to create an accurate reproduction of Jimmy Page's late 60's/early 70's analog productions using modern recording gear in my small project studio. Hats off to the boys in the band and to everyone involved.. Enjoy!" -Freddie Katz Co-Producer/Engineer Following is a track-by-track telling of how it all came together by Co-Producer and Led Blimpie guitarist, Thor Fields. Black Dog -originally from Led Zeppelin IV The guitar tone on this particular track has a very distinct sound. The left guitar was played live with the band through a Marshall JCM 800 half stack with 4X12's, while the right and middle (overdubbed) guitars went straight into the mic channel of the mixing board and then into two compressors in series. For the Leslie sounds on the solo, we used the Neo Instruments “Ventilator" in stereo (outputting to two amps). -
BOSTON's MISSING GENERATION by Steven Ledbetter from Roughly the End of the Civil War to the End of World War I, Boston Was Th
BOSTON’S MISSING GENERATION By Steven Ledbetter From roughly the end of the Civil War to the end of World War I, Boston was the breeding ground and the home of a remarkable group of composers, the first “school” of American composers to establish itself as fully professional in the same terms as any in Europe, showing the ability to create substantial works in genres ranging from the album leaf for the parlor piano to string quartets, symphonies, and operas. Most of these composers studied at the same German conservatories as their coevals, cherished similar artistic ideals, faced the same struggles for recognition. Once they returned home from their studies, they became established as active participants in Boston’s musical life—as teachers, instrumentalists, conductors, and, of course composers. John Knowles Paine was the father figure in this group and was the teacher to many of them during his many years on the Harvard faculty. Born in 1839, he was more than a decade older than the next group, which included Arthur Foote and George W. Chadwick as its most distinguished members, and when Paine’s Symphony No. 1 was performed in 1876, he immediately became the symbol of American aspirations for musical advancement. Chadwick realized that an American could write a worthy symphony and decided to aim for such a career himself. Foote studied with Paine at Harvard and became the first significant American composer of concert music to receive all his training in this country. For his part, Chadwick— after studies in Leipzig and Munich—was a central figure in Boston’s music life as composer, conductor, teacher, and innovative director the New England Conservatory from 1897 to 1930.