News from the Library of Congress: MOUG/MLA 2007
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Music for the People: the Folk Music Revival
MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance. -
David Lewiston
FEATURE Dalhousie, Northern India, 1972: Lewiston at Tashi Jong Using hand-held EV RE50s – the monastery, 1998. informant holds one of the mics in place, freeing up Lewiston’s “ …what could be left hand for operating the recorder. better than travelling to incredible places, meeting amazing musicians, and recording them?” He’s spent the last 40 years With a career spanning 40 years of recording that had evolved with little or no Western attitude and create the impression that what and releasing the music of other cultures, influence. His earliest Balinese and Tibetan you’re doing is simple and no big deal. Also, DAVID LEWISTON recording in Indonesia, David Lewiston could be described as the releases provided a timely soundtrack for a rather than hiding behind the musicians, Morocco, Peru, India, Mexico, father of world music. His pioneering field Western world that was dabbling in Eastern you want to be among them, expressing recordings of Balinese music from the 1960s philosophies, transcendental meditation and your pleasure at the music. This encourages The father of world music Istanbul, Nepal, Georgia, gave many Westerners their first taste of the other consciousness-altering endeavours. them to give a better performance. If a take Pakistan and more. He’s music of other cultures. No discussion of Lewiston would be complete is unsatisfactory, just keep going, and tell the recorded everything from But what makes Lewiston worthy of such a without acknowledging the contributions of musicians their music is really great. Then, later on in the session, tell them you really Balinese gamelan to Tibetan lofty title (and one which he would probably the late Teresa ‘Tracey’ Sterne, the visionary dismiss as ‘pretentious’)? Field recording head of Nonesuch Records who saw the enjoyed the piece that was poorly recorded and monks. -
Åpopulaty Musics and Globalization
}ÅPopulatY Musics and Globalization Foreign Music is where all the hipsters are. —Stanley Goman. Head of Retail Operations. Tower Records. 1995 1 HASN'T WOR1.n MUSIC.BF.FN AROUND FOR THOUSANDS OF YEARS? One of the most notable trends in the music industry since the 1980shas been the rise in popularity of new music genres: world music, world beat, world fusion; in Germany, Weltbeat and Weltmusik2; in other parts of the world, ethnopop, Afropop, Afrobeat. Offshoots of these genres include: tribal, techno-tribal, and cybertribal, as well as ambient, trance, and new age. All of these categories overlap to some degree and with other categories I haven't men- tioned. In 1988, Tower Records' international buyer told Newsweekthat his sec- tion was "definitely the fastest growing part of the store," more than tripling in the previous three years. 3 By 1991 the market share of world music was equal to clas- sical music and jazz,4 two very small categories (accordingto the Recording Industry Association of America, in 1995, the market share of classical music was writing).5 2.9% and for jazz, 3.0%; they had no category for world music as of this sales are of "foreign A report in Forbes says that only about 2% of Tower Records' music."6 ofworld music is grow- Two percent isn't much, but the visibility (audibility?) Nusrat Fateh Ali Khan sang a ing fast. For example, the Pakistani Qawwali singer to Tim Robbins'sfilm Dead duet with Eddie Vedder of Pearl Jam for the soundtrack 2 Global Pop Alan IValking, which raised Khan's fame to the extent that he was recently signed by Rick Rubin's Atnerican Recordings, an eclectic label that records, among 0th. -
American Folklife Center & Veterans History Project Annual Report for FY2008
AMERICAN FOLKLIFE CENTER & VETERANS HISTORY PROJECT Library of Congress Annual Report, Fiscal Year 2008 (October 2007-September 2008) The American Folklife Center (AFC), which includes the Veterans History Project (VHP), had another productive year. Over a quarter million items were acquired by the AFC Archive, which is the country’s first national archive of traditional life, and one of the oldest and largest of such repositories in the world. About 240,000 items were processed, and thus made available to researchers at the Library and beyond. In addition, the Center continued to expand programming through symposia, concerts, and public lectures; by providing field school training to universities and international organizations; and by providing technical assistance to individuals and groups. AFC also continued to be a leader in international discussions concerning traditional culture and intellectual property, and the AFC director served as a member of US delegations to meetings convened by the World Intellectual Property Organization (WIPO), UNESCO, and the Organization of American States (OAS). Both AFC and VHP provided substantial services to Congress. The Veterans History Project (VHP) continued making major strides in its mission to collect and preserve the stories of our nation's veterans, receiving upwards of 100 collections a week and acquiring over 22,000 items. The maturation of the Project was reflected by its partnership with WETA-TV and PBS in their presentation of the Ken Burns film, The War, which told the story of World War II through the memories of individual veterans from four American towns. VHP also continued to foster solid working relationships with a wide variety of project participants nationwide, including the U.S. -
FREDERICK FENNELL and the EASTMAN WIND ENSEMBLE: the Transformation of American Wind Music Through Instrumentation and Repertoire
FREDERICK FENNELL AND THE EASTMAN WIND ENSEMBLE: The Transformation of American Wind Music Through Instrumentation and Repertoire Jacob Edward Caines Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements For the Master of Arts degree in Musicology School Of Music Faculty of Arts University of Ottawa © Jacob Edward Caines, Ottawa, Canada, 2012 i Abstract The Eastman Wind Ensemble is known as the pioneer ensemble of modern wind music in North America and abroad. Its founder and conductor, Frederick Fennell, was instrumental in facilitating the creation and performance of a large number of new works written for the specific instrumentation of the wind ensemble. Created in 1952, the EWE developed a new one-to-a-part instrumentation that could be varied based on the wishes of the composer. This change in instrumentation allowed for many more compositional choices when composing. The instrumentation was a dramatic shift from the densely populated ensembles that were standard in North America by 1952. The information on the EWE and Fennell is available at the Eastman School of Music’s Ruth Watanabe Archive. By comparing the repertory and instrumentation of the Eastman ensembles with other contemporary ensembles, Fennell’s revolutionary ideas are shown to be unique in the wind music community. Key Words - EWE (Eastman Wind Ensemble) - ESB (Eastman Symphony Band) - Vernacular - Cultivated - Wind Band - Wind Ensemble - Frederick Fennell - Repertoire i Acknowledgements This thesis could not have been completed without the support of many people. Firstly, my advisor, Prof. Christopher Moore. Without his constant guidance, and patience, this document would have been impossible to complete. -
Backto the Future – the Legacy of Frank L. Battisti – Aconversation
Frank L. Battisti Frank Battisti began his teaching career as an instrumental teacher in the Ithaca (New York) Public Schools in 1953. He became Director of Bands at Ithaca High School in 1955 and remained there until 1967. He also served as chairperson of the Instrumental Music Department from 1961 - 67. The Ithaca High School Band, under Battisti’s direction, achieved national recognition as one of the finest and most unique high school bands in the nation. The concert band performed at the Ithaca College School of Music, Eastman School of Music, Music Educators National Conference (MENC), Mid-West National Band and Orchestra Clinic (Chicago 1965), Rockefeller Center, the New York World’s Fair (1964) and at other regional and national music events. In 1997 the John Philip Sousa Foundation selected Battisti’s Ithaca High School Concert Band for their Historic Roll of Honor of High School Concert Bands, 1920-1980. Eugene Migliaro Corporon, Director of Wind Studies at North Texas State University, hails the Ithaca High School Band under the leadership of Frank Battisti “as one of the truly great achievements of instrumental music education in the twentieth century.” From 1958 - 67, the Ithaca High School Band commissioned 24 works for band. The commissioned composers included Warren Benson, David Borden, Carlos Chavez, Barney Childs, Walter Hartley, Vincent Persichetti, Armand Russell, Alec Wilder and Pulitzer Prize in Music winners Leslie Bassett, Karel Husa, Robert Ward, Gunther Schuller. Guest soloists and conductors appearing with the Ithaca High School Band from 1955-67 included Benny Goodman, Carl “Doc” Severinson, Donald Sinta, Harvey Phiillips, The New York Brass Quintet, Jimmy Burke, Vincent Persichetti, Norman Dello Joio, Thomas Beversdorf, Clyde Roller, Frederick Fennell, William D. -
Lincolnshire Posy Abbig
A Historical and Analytical Research on the Development of Percy Grainger’s Wind Ensemble Masterpiece: Lincolnshire Posy Abbigail Ramsey Stephen F. Austin State University, Department of Music Graduate Research Conference 2021 Dr. David Campo, Advisor April 13, 2021 Ramsey 1 Introduction Percy Grainger’s Lincolnshire Posy has become a staple of wind ensemble repertoire and is a work most professional wind ensembles have performed. Lincolnshire Posy was composed in 1937, during a time when the wind band repertoire was not as developed as other performance media. During his travels to Lincolnshire, England during the early 20th century, Grainger became intrigued by the musical culture and was inspired to musically portray the unique qualities of the locals that shared their narrative ballads through song. While Grainger’s collection efforts occurred in the early 1900s, Lincolnshire Posy did not come to fruition until it was commissioned by the American Bandmasters Association for their 1937 convention. Grainger’s later relationship with Frederick Fennell and Fennell’s subsequent creation of the Eastman Wind Ensemble in 1952 led to the increased popularity of Lincolnshire Posy. The unique instrumentation and unprecedented performance ability of the group allowed a larger audience access to this masterwork. Fennell and his ensemble’s new approach to wind band performance allowed complex literature like Lincolnshire Posy to be properly performed and contributed to establishing wind band as a respected performance medium within the greater musical community. Percy Grainger: Biography Percy Aldridge Grainger was an Australian-born composer, pianist, ethnomusicologist, and concert band saxophone virtuoso born on July 8, 1882 in Brighton, Victoria, Australia and died February 20, 1961 in White Plains, New York.1 Grainger was the only child of John Harry Grainger, a successful traveling architect, and Rose Annie Grainger, a self-taught pianist. -
The Contributions of Leonard Bernstein and Frederick Fennell to the World of Music
University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2014-01-01 The onC tributions of Leonard Bernstein and Frederick Fennell to the World of Music Ryan James Dore University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Music Commons Recommended Citation Dore, Ryan James, "The onC tributions of Leonard Bernstein and Frederick Fennell to the World of Music" (2014). Open Access Theses & Dissertations. 1611. https://digitalcommons.utep.edu/open_etd/1611 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. THE CONTRIBUTIONS OF LEONARD BERNSTEIN AND FREDERICK FENNELL TO THE WORLD OF MUSIC RYAN JAMES DORE Department of Music APPROVED: Ron Hufstader, Ph.D., Chair Lorenzo Candelaria, Ph.D. Kim Bauer, MFA. Bess Sirmon-Taylor, Ph.D. Interim Dean of the Graduate School Copyright © by Ryan Dore 2014 Dedication To my parents without whom my schooling and higher education would not be possible. To my fiancé Anna, for surviving 2 years of long distance. To all of my previous band directors, your influence inspired me to become a music educator. To God, you have guided my steps and continue to direct my life. THE CONTRIBUTIONS OF LEONARD BERNSTEIN AND FREDERICK FENNELL TO THE WORLD OF MUSIC by RYAN JAMES DORE, B.A. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF MUSIC Department of Music THE UNIVERSITY OF TEXAS AT EL PASO May 2014 Acknowledgements I would like to acknowledge my advisor Dr. -
JONATHAN J. SAUCEDA 200 Columbia ● Highland Park, New Jersey [email protected] ● (848) 565-8650
JONATHAN J. SAUCEDA 200 Columbia ● Highland Park, New Jersey [email protected] ● (848) 565-8650 EDUCATION University of North Texas, Denton, Texas 2016 Doctor of Philosophy, Musicology Dissertation: “Opera in Argentine Society: Felipe Boero’s El Matrero” University of North Texas, Denton, Texas 2013 Master of Library Science Wichita State University, Wichita, Kansas 2008 Master of Music, History and Literature Master of Music, Vocal Performance John Brown University, Siloam Springs, Arkansas 2004 Bachelor of Arts, Music with Emphases in Voice and Piano Bachelor of Arts, History EMPLOYMENT Music and Performing Arts Librarian 2013-present Interim Librarian for Spanish, Portuguese, Latinx, Latin 2017-present American and Caribbean Studies Rutgers University-New Brunswick REFERENCE AND INSTRUCTION Reference Team Leader, Douglass and Laurie Library o Supervise and assess reference services for the building o Set and evaluate information service goals o Schedule librarians and reference assistants on the reference desk Library Instruction o Teach on average eight information literacy sessions a semester in English 201 courses and courses related to liaison areas o Develop and maintain research guides for music, theater, dance, Spanish, Portuguese, Latinx, Latin American and Caribbean disciplines o Perform reference face-to-face, via email, chat, and through the “Ask a Librarian” system Introduction to Music Research (Instructor of Record) o In-person graduate-level class for music students discussing research resources, musical editions, methodologies, and readings in musicology, ethnomusicology and theory. Rockin’ Roots, Global Reach: The Story of Jersey’s Popular Music (Instructor of Record) Jonathan Sauceda [email protected] • (848) 932-9023 o In-person, undergraduate seminar contextualizing and digitizing New Jersey sheet music with final project. -
Music Library-Special Collections Graduate Services Assistant
Music Library-Special Collections Graduate Services Assistant Number of positions available: 1 About the Program The UNT Libraries offer full-time graduate students professional experience through their Graduate Services Assistantships and Research Assistantships (https://www.library.unt.edu/jobs/gla-gra). These positions provide tuition benefit program hours and are benefits eligible during the fall/spring semester, but summer positions are paid hourly with limited benefits eligibility. For grant-funded assistantships, benefits vary according to the grant. See full details here. (https://www.library.unt.edu/jobs/gla-gra) Department Overview The Music Library supports the scholarly and performance research needs of the College of Music by collecting and preserving monographs, reference works, periodicals, printed music and sound recording formats, as well as subscribing to electronic databases for research and streaming music. Special collections are a particular strength of the Music Library’s holdings, emphasizing the many genres classified under Western art music and jazz, but also popular music and various sub-genres. Ten full-time staff and around 30 student assistants also provide reference and access services, ensuring that the College of Music and all outside researchers are able to locate and access music materials. Position Description The GSA will perform various duties in support of the Music Special Collections unit. Most work will relate to the Music Library’s processing and preservation of music special collections. Direct supervision will be by the Music Special Collections librarian. The GSA in this area will also assist at the Music Library Service desk as needed. Any member of the Music Library full-time staff may assign other projects. -
1 Core Competencies for Music Librarians and Music Library
Core Competencies for Music Librarians and Music Library Professionals Prepared by the Music Library Association Core Competencies for Music Librarians and Music Library Professionals Task Force The Core Competencies for Music Librarians and Music Library Professionals specify a set of broad skills and knowledge necessary for the successful performance of the many duties and responsibilities inherent in a wide variety of possible professional appointments. The list is neither comprehensive nor intended as a realistic description of what a single individual can reasonably accomplish during the span of their career. Instead, it describes the work of a network of individuals engaged in the practice of music librarianship. While like the previous competencies documents, the list represents a guide for emerging and current music librarians and professionals, music librarian educators and employers, in an effort to provide a direction in future career development, the current document also distinguishes between basic and expert competencies. The competencies are organized into eight areas. The order was not intended as an indicator of their relative importance. In preparation for this work, the Task Force conducted extensive literature review, analyzed current music librarianship course syllabi, surveyed MLA membership and examined core competencies of comparable organizations and the American Library Association. The Task Force presented research results and preliminary thoughts concerning competencies to the MLA membership at its annual meeting in February 2017. After incorporating membership feedback, the Task Force produced a draft, which was presented to the MLA Board for comment. The resulting draft was posted for public comment. The current document incorporates many of those recommendations. -
A Digital Media Exploration of the Federal Writers' Project's Folk Song Collecting Expeditions in Depression Era Florida
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 A Digital Media Exploration of the Federal Writers' Project's Folk Song Collecting Expeditions in Depression Era Florida Holly Baker University of Central Florida Part of the Public History Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Baker, Holly, "A Digital Media Exploration of the Federal Writers' Project's Folk Song Collecting Expeditions in Depression Era Florida" (2018). Electronic Theses and Dissertations, 2004-2019. 6000. https://stars.library.ucf.edu/etd/6000 A DIGITAL MEDIA EXPLORATION OF THE FEDERAL WRITERS’ PROJECT’S FOLK SONG COLLECTING EXPEDITIONS IN DEPRESSION ERA FLORIDA by HOLLY BAKER B.A. University of Central Florida, 2014 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2018 © 2018 Holly Baker ii ABSTRACT This digital thesis project examines the folk song collecting expeditions of the Federal Writers’ Project (FWP) in Florida between 1935 and 1942. The FWP carried out numerous folk music collecting expeditions in Florida through the Works Progress Administration (WPA). Folklorists such as Zora Neale Hurston, Alan Lomax, and Stetson Kennedy led the expeditions and traveled throughout Florida to record blues, “jook” songs, work songs, and traditional music from African American, Cuban, Czech, Greek, Minorcan, Seminole, and Slavic communities.