The Swing of the Pendulum
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Folk Song in Cumbria: a Distinctive Regional
FOLK SONG IN CUMBRIA: A DISTINCTIVE REGIONAL REPERTOIRE? A dissertation submitted in partial fulfilment of the degree of Doctor of Philosophy by Susan Margaret Allan, MA (Lancaster), BEd (London) University of Lancaster, November 2016 ABSTRACT One of the lacunae of traditional music scholarship in England has been the lack of systematic study of folk song and its performance in discrete geographical areas. This thesis endeavours to address this gap in knowledge for one region through a study of Cumbrian folk song and its performance over the past two hundred years. Although primarily a social history of popular culture, with some elements of ethnography and a little musicology, it is also a participant-observer study from the personal perspective of one who has performed and collected Cumbrian folk songs for some forty years. The principal task has been to research and present the folk songs known to have been published or performed in Cumbria since circa 1900, designated as the Cumbrian Folk Song Corpus: a body of 515 songs from 1010 different sources, including manuscripts, print, recordings and broadcasts. The thesis begins with the history of the best-known Cumbrian folk song, ‘D’Ye Ken John Peel’ from its date of composition around 1830 through to the late twentieth century. From this narrative the main themes of the thesis are drawn out: the problem of defining ‘folk song’, given its eclectic nature; the role of the various collectors, mediators and performers of folk songs over the years, including myself; the range of different contexts in which the songs have been performed, and by whom; the vexed questions of ‘authenticity’ and ‘invented tradition’, and the extent to which this repertoire is a distinctive regional one. -
FOSIL News & Views XIII 24Th September 2020
FOSIL News & Views XIII 24th September 2020 St Ives Library Opening Hours 9.30am – 4.00pm Monday – Saturday Email: [email protected] Tel: 01736 796297 Did you try Tony’s latest code breaker challenge? BXDBWLDFGPOFOYBXDHDAWYCKFWWGBWOFDBOHDFDABGOKODCHWUDBXOYTBWCW LOBXPCPUPTDCXDPBOYTDFUDYBNYKWGBNPDBDFQOBXPHBWGDUPOYOYNHDPHBXDK OGHBFWWOHHBOFFRFWAVDCBXPYVHBWUGRGQPYBHDJIDGOUYBHLOBXPXAUBXDH’OM DPYCHXPIDWKPXNUPYXDPCSNHBRDAGDKNFLXDYQWNEDTWBLDBXPYCHBXPBHPFF If you need help Tony says: A substitution code, even one without spacing between words, can be decrypted by using frequency analysis (provided there is enough text). The most common letters used in English are e,t,and a in that order. Where two letters next to each other are the same then the most common are ss, ee, and tt. Look for sequences of 3 letters that are the same, they may (or may not !!)represent common 3 letter words. No one cracked it this time – so perhaps we should offer a chocolate prize as an incentive. Please send your ‘cracked code’ to [email protected]. The solution and winner will be published in the next ‘News & Views’. that initial love of reading that I had experienced as a child. I came across the author, Max Porter being interviewed by Rick O’Shea on Shelf Analysis (available on Youtube). Sometimes that’s a good way of discovering living authors so that you meet them first. Porter was formerly a bookshop manager and editor so I knew that his books would be different if only because he understood the market. Grief is the Thing with Feathers, was his highly acclaimed first novel which won the Sunday Times PFD Young Writer of the Year Award in 2016, as well as the Books Are My Bag Readers' Award for fiction and the International Dylan Thomas Prize. -
To Download the Full Archive
Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No. -
An Introductory Survey on the Development of Australian Art Song with a Catalog and Bibliography of Selected Works from the 19Th Through 21St Centuries
AN INTRODUCTORY SURVEY ON THE DEVELOPMENT OF AUSTRALIAN ART SONG WITH A CATALOG AND BIBLIOGRAPHY OF SELECTED WORKS FROM THE 19TH THROUGH 21ST CENTURIES BY JOHN C. HOWELL Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. __________________________________________ Mary Ann Hart, Research Director and Chairperson ________________________________________ Gary Arvin ________________________________________ Costanza Cuccaro ________________________________________ Brent Gault ii ACKNOWLEDGMENTS I am indebted to so many wonderful individuals for their encouragement and direction throughout the course of this project. The support and generosity I have received along the way is truly overwhelming. It is with my sincerest gratitude that I extend my thanks to my friends and colleagues in Australia and America. The Australian-American Fulbright Commission in Canberra, ACT, Australia, gave me the means for which I could undertake research, and my appreciation goes to the staff, specifically Lyndell Wilson, Program Manager 2005-2013, and Mark Darby, Executive Director 2000-2009. The staff at the Sydney Conservatorium, University of Sydney, welcomed me enthusiastically, and I am extremely grateful to Neil McEwan, Director of Choral Ensembles, and David Miller, Senior Lecturer and Chair of Piano Accompaniment Unit, for your selfless time, valuable insight, and encouragement. It was a privilege to make music together, and you showed me how to be a true Aussie. The staff at the Australian Music Centre, specifically Judith Foster and John Davis, graciously let me set up camp in their library, and I am extremely thankful for their kindness and assistance throughout the years. -
Download Booklet
CYAN MAGENTA YELLOW BLACK ACTAEON 1. Actaeon ©Prima Vista Musikk Gareth Wood 17.27 2. Prelude on Three Welsh Hymn Tunes ©SP&S Ralph Vaughan Williams 6.43 3. Visions of Gerontius ©SP&S Kenneth Downie 17.29 4-7. Symphony No. 10 ‘November Journeys’ ©Band Press VOF George Lloyd arr. Vertommen 28.34 I. Allegro Moderato 8.20 II. Calma 6.19 III. Andante Grazioso 7.18 IV. Energico 6.37 Total CD Playing Time 70.33 DOY CD241 Code No. Booklet-Pgs16&1 CYAN MAGENTA YELLOW BLACK Introduction This latest recording by the current British Open and European Brass Band Champions showcase the Cory Band in an eclectic mix of music based on journeys, myths and legends. Designed as a follow up to the successful release of The Promised Land, Actaeon consists of world première recordings by significant British composers. The music is varied in style, from the dramatic and violent depiction of Actaeon’s death to the beautiful inner movements of George Lloyd’s November Journeys inspired by English Cathedrals. The inclusion of Kenneth Downie’s Visions of Gerontius has been eagerly awaited since the Cory Band under the direction of Dr. Robert Childs gave the winning performance of the work at the ‘British Open’ held in Birmingham’s Symphony Hall in September 2007. Executive Producer: Trevor Caffull Producer: John Maines Engineer: Richard Scott Digital Editing & Mastering: R.E. Editing Production Manager: Julian Bright Project Manager: Kevin J Coates MBE Cover Design & Artwork: GK Graphic Design Photography: John Stirzaker Recorded during April 2008 at Ysgol Gyfun Rhydywaun, Aberdare. -
Much to Look Forward To
Journal of the No.18 June 2000 EDITOR Stephen Connock RVW (see address below) Society In this issue... Much to look forward to... Vaughan Williams and Bach The RVW Society is involved in a Members will also be delighted to learn number of important and exciting that Sir John in Love will be performed G R.V.W. & J.S.B. projects, some of which will come to in Newcastle City Hall by the Northern fruition quickly and others will take Sinfonia under Richard Hickox on by Michael Kennedy place in the 2002-2003 season. Of the September 29th 2000 as part of the Page 4 greatest interest to RVW Society preparation for the recording. There is members is the major Festival of such marvellous, heart warming music symphonies and choral works being in this opera that all members are urged G Lewis Foreman reviews VW planned under the title Toward the to get to Newcastle, somehow, for the conducting the St. Matthew Unknown Region. concert performance on 29th September. Passion. Page 7 Toward the Unknown Region Charterhouse Symposium G This Festival will be conducted by Following the success of the Conference VW and ‘the greatest of all Richard Hickox using his new orchestra Vaughan Williams in a New Century at composers’ the BBC National Orchestra of Wales. the British Library last November, Robin by Timothy Day Eight concerts are being planned for Wells of Charterhouse and Byron Adams Wales and there are likely to be four of the University of California have Page 10 concerts in London. The Festival begins jointly planned a superb series of at the end of 2002 and many rare choral lectures, concerts and other events at works will be programmed alongside all Charterhouse School from 23rd to 29th Postscripts on George the nine symphonies. -
"G" S Circle 243 Elrod Dr Goose Creek Sc 29445 $5.34
Unclaimed/Abandoned Property FullName Address City State Zip Amount "G" S CIRCLE 243 ELROD DR GOOSE CREEK SC 29445 $5.34 & D BC C/O MICHAEL A DEHLENDORF 2300 COMMONWEALTH PARK N COLUMBUS OH 43209 $94.95 & D CUMMINGS 4245 MW 1020 FOXCROFT RD GRAND ISLAND NY 14072 $19.54 & F BARNETT PO BOX 838 ANDERSON SC 29622 $44.16 & H COLEMAN PO BOX 185 PAMPLICO SC 29583 $1.77 & H FARM 827 SAVANNAH HWY CHARLESTON SC 29407 $158.85 & H HATCHER PO BOX 35 JOHNS ISLAND SC 29457 $5.25 & MCMILLAN MIDDLETON C/O MIDDLETON/MCMILLAN 227 W TRADE ST STE 2250 CHARLOTTE NC 28202 $123.69 & S COLLINS RT 8 BOX 178 SUMMERVILLE SC 29483 $59.17 & S RAST RT 1 BOX 441 99999 $9.07 127 BLUE HERON POND LP 28 ANACAPA ST STE B SANTA BARBARA CA 93101 $3.08 176 JUNKYARD 1514 STATE RD SUMMERVILLE SC 29483 $8.21 263 RECORDS INC 2680 TILLMAN ST N CHARLESTON SC 29405 $1.75 3 E COMPANY INC PO BOX 1148 GOOSE CREEK SC 29445 $91.73 A & M BROKERAGE 214 CAMPBELL RD RIDGEVILLE SC 29472 $6.59 A B ALEXANDER JR 46 LAKE FOREST DR SPARTANBURG SC 29302 $36.46 A B SOLOMON 1 POSTON RD CHARLESTON SC 29407 $43.38 A C CARSON 55 SURFSONG RD JOHNS ISLAND SC 29455 $96.12 A C CHANDLER 256 CANNON TRAIL RD LEXINGTON SC 29073 $76.19 A C DEHAY RT 1 BOX 13 99999 $0.02 A C FLOOD C/O NORMA F HANCOCK 1604 BOONE HALL DR CHARLESTON SC 29407 $85.63 A C THOMPSON PO BOX 47 NEW YORK NY 10047 $47.55 A D WARNER ACCOUNT FOR 437 GOLFSHORE 26 E RIDGEWAY DR CENTERVILLE OH 45459 $43.35 A E JOHNSON PO BOX 1234 % BECI MONCKS CORNER SC 29461 $0.43 A E KNIGHT RT 1 BOX 661 99999 $18.00 A E MARTIN 24 PHANTOM DR DAYTON OH 45431 $50.95 -
Arnold Bax and the Poetry of Tintagel
ARNOLD BAX AND THE POETRY OF TINTAGEL A Dissertation submitted to the College of Fine Arts of Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by William B. Hannam December, 2008 HANNAM, WILLIAM B., PH.D., DECEMBER, 2008 MUSIC ARNOLD BAX AND THE POETRY OF TINTAGEL (213PP.) Director of Dissertation: Theodore J. Albrecht The latter part of the nineteenth and the early part of the twentieth centuries saw what is commonly accepted as a resurgence in music from the British Isles, but to this day, most of the actual music of this resurgence remains unknown to all but the most knowledgeable of art music aficionados. Among the composers active during this period, one of the most heralded in his day but little recognized now is Sir Arnold Bax (1883 – 1953). To the aforementioned aficionados, he is known for several substantial yet infrequently performed contributions to the symphonic repertoire, among them the tone poem Tintagel. Known in England as a composer, Bax carried on a separate life as a writer of poetry and drama in Ireland, working under the name Dermot O’Byrne. At the time of composition of the tone poem, Bax also wrote a four- stanza verse poem titled “Tintagel Castle.” Both were written for and dedicated to the pianist Harriet Cohen, with whom he was having an affair. The focus of this dissertation is an extensive look at the circumstances surrounding the composition of Tintagel, examining factors of development in Bax’s compositional style, his personal life including the affair with Harriet Cohen, and the influence of Yeats and Irish culture on Bax’s writings as Dermot O’Byrne. -
Medieval Music: Boethius (D
Medieval Music: Boethius (d. 525) Treatise: De Musica Three Levels of Music: Musica humana: symmetry of the body and soul Musica mundana: “music of the spheres” – harmony of the world about us Musica instrumentalis: practical music (subject to the two higher levels) Cantores: knew only the “how” (performers) Musicus: understood the mathematical ratios Music is number made audible (Pythagoras) Music is a way of depicting the beauty and perfection of God Greek System: Trivium: grammar, rhetoric and dialectic Quadrivium: arthmetic, geometry, music and astronomy (followed by philosophy and theology (highest level)) Hours: Greater: Matins, Lauds, Vespers and Compline Lesser: Prime, Terce, Sext and Nones (built around the singing of the psalms) Mass: Ordinary: Proper: Kyrie Introit Gloria Offertory Sanctus Communion Agnus Dei Gradual Credo Alleluia Missal: Texts for the ordinaries and propers of the mass Graduale: Music for the ordinaries and propers of the mass Breviary: Texts for the hours (except Matins) Antiphonale: Music for the hours (except Matins) Liber Usualis: One volume compendium including parts from the above plus Matins (prepared during the late 19th Century) Pythagorean Tuning: Derived from fundamental proportions 2:1 perfect octave 3:2 perfect fifth 4:3 perfect fourth 9:8 perfect second (all other intervals are derived through a process of addition and subtraction) Modes: Range Reciting tone/tenor Dorian I D-D a Hypodorian II A-A f Phyrgian III E-E c Hypophrygian IV B-B a Lydian V F-F c Hypolydian VI C-C a Mixolydian VII G-G d Hypomixolydian VIII D-D c Ambitus: range Final of modes are their starting pitch final of hypo-modes are the same as their related mode Non-Roman Rites Influenced by local tradtions, impact of foreign importations, changes due to oral tradition and distance from Rome Ambrosian Chant – Milan (St. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletioiL Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing firom left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Company 300 Nortfi Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313,'761-4700 600/521-0600 Order Number 9401210 Reclaiming a music for England: Nationalist concept and controversy in English musical thought and criticism, 1880-1920. (Volumes I and II) Ball, William Scott, Ph.D. -
David Lloyd George 1863–1945 Kenneth O
For the study of Liberal, SDP and Issue 77 / Winter 2012–13 / £10.00 Liberal Democrat history Journal of LiberalHI ST O R Y David Lloyd George 1863–1945 Kenneth O. Morgan Lloyd George and leadership The influences of Gladstone and Lincoln Alan Sharp ‘If I had to go to Paris again …’ Lloyd George and the revision of the Versailles Treaty Stella Rudman Lloyd George and the appeasement of Germany, 1922–1945 Peter Clarke ‘We can conquer unemployment’ Lloyd George and Keynes David Dutton The wonderful wizard as was Lloyd George, 1931–1945 Liberal Democrat History Group 2 Journal of Liberal History 77 Winter 2012–13 Journal of Liberal History Issue 77: Winter 2012–13 The Journal of Liberal History is published quarterly by the Liberal Democrat History Group. ISSN 1479-9642 David Lloyd George, 1863–1945 4 Editor: Duncan Brack Kenneth O. Morgan introduces this special edition of the Journal. Deputy Editor: Tom Kiehl Biographies Editor: Robert Ingham Reviews Editor: Dr Eugenio Biagini Lloyd George and leadership 6 Contributing Editors: Graham Lippiatt, Tony Little, The influences of Gladstone and Abraham Lincoln; by Kenneth O. Morgan York Membery Lloyd George, nonconformity and radicalism 12 Patrons Ian Machin examines Lloyd George’s career and beliefs from 1890 to 1906 Dr Eugenio Biagini; Professor Michael Freeden; Professor John Vincent Lloyd George’s coalition proposal of 1910 18 Editorial Board and its impact on pre-war Liberalism; by Martin Pugh Dr Malcolm Baines; Dr Ian Cawood; Dr Roy Douglas; Dr David Dutton; Prof. David Gowland; Prof. Richard Lloyd George’s war rhetoric, 1914–1918 24 Grayson; Dr Michael Hart; Peter Hellyer; Dr Alison Richard Toye analyses Lloyd George’s rhetorical skills at the height of his powers Holmes; Dr J. -
Decca Discography
DECCA DISCOGRAPHY >>4 GREAT BRITAIN: digital, 1979-2008 In the early 1970s the advent of Anthony Rooley, the Consort of Musicke, Emma Kirkby, Christopher Hogwood and the Academy of Ancient Music brought a fresh look at repertoire from Dowland to Purcell, Handel, Mozart and eventually Beethoven. Solti recorded with the LPO from 1972 and the National Philharmonic was booked regularly from 1974-84. Also during the 1970s the London Sinfonietta’s surveys of Schönberg and Janá ček were recorded. Ashkenazy’s second career as a conductor centred initially on London, with the Philharmonia from 1977 and the RPO from 1987. Philip Pickett’s New London Consort joined the Florilegium roster in 1985 and Argo’s new look brought in a variety of ensembles in the 1990s. But after an LPO Vaughan Williams cycle was aborted in 1997, Decca’s own UK recordings comprised little more than piano music and recital discs. Outside London, Argo recorded regularly in Cambridge and Oxford. Decca engaged the Welsh National Opera from 1980-96 and the Bournemouth Symphony from 1990-96, but otherwise made little use of regional British orchestras. By the time they raised their performing standards to an acceptable level, Chandos, Hyperion and Naxos had largely replaced the old majors in the market for orchestral sessions. >RV0 VENUES One hundred and seventy different venues were used, eighty-eight in the London area and eighty-two elsewhere in Britain, but only one in ten (those in bold ) hosted thirty or more entries, whilst seventy were only visited once. LONDON AREA ABBEY ROAD STUDIOS , St.John’s Wood, London NW8 (1931), initially restricted to EMI labels, were opened to all from 1968.