DOCSLIB.ORG

Establish Your Own Named Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Establish Your Own Named Program THE ASCAP FOUNDATION LEGACY SOCIETY NAMED PROGRAMS The ASCAP Foundation offers naming opportunities for those interested in establishing a custom program named after themselves or a loved one. We are proud of the musical greats who have chosen to establish programs in their name and the many families that have memorialized loved ones’ achievements by creating and funding a named program. ASCAP Foundation Legacy Society Named Programs include those of: Harold Adamson, Robert Allen, Chein Garcia Alonso, Herb Alpert, Harold Arlen, Louis Armstrong, Nick Ashford, Irving Berlin, Leonard Bernstein, Freddy Bienstock, Irving Caesar, Sammy Cahn, Harry Chapin, Desmond Child, George M. Cohan, Cy Coleman, Aaron Copland, Hal David, George and Ira Gershwin, Jay Gorney, Morton Gould, W.C. Handy, Jerry Herman, Fred Ho, Bart Howard, Molly Hyman, Billy Joel, Quincy Jones, Leo Kaplan, Steve Kaplan, Dean Kay, Leiber & Stoller, Frederick Loewe, John LoFrumento, Henry Mancini, Johnny Mandel, Michael Masser, Joseph Meyer, Vic Mizzy, Jack Norworth, Cole Porter, Louis Prima, Didier Lean Rachou, Joe Raposo, Irwin Robinson, Richard Rodgers, Betty Rose, David Rose, Mark Snow, Stephen Sondheim, Deems Taylor, Virgil Thomson, Jimmy Van Heusen, Paul Williams, Lucille and Jack Yellen, and others. ESTABLISH A NAMED PROGRAM OF YOUR OWN Keep alive your name and legacy or honor that of a loved one, for today's music community and for those of the next generation. The named program can be tailored to your wishes as encompassed within the mission of The ASCAP Foundation. When you establish a Named Program at The ASCAP Foundation, you become part of The ASCAP Foundation Legacy Society in recognition of your generosity and commitment (unless you choose to remain anonymous). In addition, your new program will be featured on the Foundation’s website, in the Planned Giving Booklet and The ASCAP Foundation Notations Newsletter. The minimum amount required to establish a Named Program at The ASCAP Foundation is $25,000, with 15% of those funds to be used for the administrative expenses associated with your program. This tax‐ deductible contribution can be given in one lump sum or as a planned gift, spread out over time with smaller annual installments. 1 of 3 THE ASCAP FOUNDATION LEGACY SOCIETY NAMED PROGRAMS Harold Adamson Lyric Awards Jerry Herman Legacy Concert Series Harold Adamson Songwriter Workshop Fred Ho Award Robert Allen Award Bart Howard Scholarship Chein Garcia Alonso Scholarship Molly Hyman Music Scholarship Herb Alpert Young Jazz Composer Awards Phoebe Jacobs Prize Harold Arlen Award BMG Scholarship Louis Armstrong Scholarship in honor of Quincy Jones at Queens College Leo Kaplan Award Louis Armstrong Award Steve Kaplan TV & Film Studies Award honoring W.C. Handy Michelle & Dean Kay Award Louis Armstrong Scholarship Leiber & Stoller Music Scholarships at the University of New Orleans Frederick Loewe Scholarship ”Reach Out and Touch” Award in honor of Nick Ashford Barbara & John LoFrumento Award Irving Berlin Summer Camp Scholarship Henry Mancini Music Fellowship Leonard Bernstein Award Johnny Mandel Prize Freddy Bienstock Scholarship & Michael Masser Scholarship Internship Vic Mizzy Scholarship Boosey & Hawkes Young Composer Award Rudolf Nissim Prize honoring Aaron Copland Cole Porter Award Leon Brettler Award Louis Prima Award Irving Caesar Scholarships Lucy and Didier Lean Rachou Award Sammy Cahn Award Joe Raposo Children’s Music Award Harry Chapin Songwriters Workshop Joan & Irwin Robinson Scholarship Desmond Child Anthem Award Richard Rodgers Award George M. Cohan/Friars Foundation Award Richard Rodgers New Horizons Award Cy Coleman Award Betty Rose Scholarship Eunice & Hal David Merit Award David Rose Award Fran Morgenstern Davis Scholarships Mark Snow Lecture Series Jamie deRoy & friends Award Stephen Sondheim Children Will Listen Louis Dreyfus Warner/ Chappell City College Program Scholarship honoring George & Ira Gershwin Deems Taylor/Virgil Thomson Awards Max Dreyfus Scholarship Jimmy Van Heusen Award Ira Gershwin Scholarship Mariana & Paul Williams Jay Gorney Award “Sunlight of the Spirit” Award Morton Gould Young Composer Awards Lucille & Jack Yellen Award JOIN THE ASCAP FOUNDATION LEGACY SOCIETY Invest in the Future of Music Extend Your Legacy with a Planned Gift Thanks to donors like you, over 3 million individuals benefit from our music programs each year. And it all started with a planned gift. Name: Address City: State: ZIP: Phone: Email: ASCAP Member # (if applicable): I am interested in learning more about how to name The ASCAP Foundation as a beneficiary of my: Will Life Insurance Retirement Plan Charitable Trust Royalties IRA Charitable Rollovers I am interested in establishing a Named Program I have already made provisions in my estate plans that include naming The ASCAP Foundation as a beneficiary. (please check one below) Please list my name as a Legacy Society Member I would like to remain anonymous Mail form to: Rebecca Kasilag The ASCAP Foundation 250 West 57th Street New York, NY 10107 The ASCAP Foundation is a 501 (c)(3) public foundation. Your contributions are tax‐deductible to the full extent allowed by law. 3 of 3.
Load more

Recommended publications
  • In T H E W O R
    I N T IN THE WORKS: FREE ORCHESTRA CONCERT Wednesday, August 5, 5:30pm | Santa Cruz Civic Auditorium You’ll find yourself at the very center of contemporary music-making with a special concert featuring new works by three young composers—Brendan Faegre, Takuma Itoh, H and Emily Praetorius—conducted in rotation by seven emerging conductors. All are studying in the prestigious Conductors/Composers Workshop. E W Don’t miss the excitement when the creative sparks fly! O R K S IN THE WORKS COMPOSERS BRENDAN FAEGRE TAKUMA ITOH EMILY PRAETORIUS Brendan Faegre is a Takuma Itoh spent his Emily Praetorius is composer, educator, early childhood in Japan a composer and b and l e ader, and before moving to Palo clarinetist from Ojai, percussionist whose Alto, California, where California. She holds music draws inspiration he grew up. His music a Master of Music from jazz and rock has been described as in composition from drumming, Hindustani “brashly youthful and Manhattan School of classical music, and fresh” (New York Times). Music (2014) and a contemporary concert Featured amongst one Bachelor of Music in music. Faegre’s works have been programmed of “100 Composers Under 40” on NPR Music, clarinet performance and composition from at festivals around the world, including Itoh has been the recipient of an award from the University of Redlands (2008). Praetorius Huddersfield (UK), Gaudeamus (NL), TRANSIT the American Academy of Arts and Letters; a has written for a variety of different instrumental Leuven (BE), Dark Music Days (IS), Beijing Charles Ives Scholarship; a Music Alive: New combinations, from clarinet duo with live Modern (CN), and Bang on a Can (US).
    [Show full text]
  • Rona & Her Sketchy Friends
    VISION RESIDENCY RONA & HER SKETCHY FRIENDS FEBRUARY 19 @ 7PM ET Featuring & Curated by Vision Resident RONA SIDDIQUI With the talents of MANIK CHOKSI, raja feather kelly, SADE NAMEI & ASSAL GHAWAMI RONA & HER SKETCHY FRIENDS FEBRUARY 19 @ 7PM ET Featuring & Curated by Vision Resident RONA SIDDIQUI HOODIE TRILOGY Created & Performed by RONA SIDDIQUI "FOLLOW A FOLLICLE" FROM SALAAM MEDINA: TALES OF A HALFGHAN Book, Music & Lyrics by RONA SIDDIQUI Animation by MANIK CHOKSI Directed by raja feather kelly Featuring SHERZ ALETAHA, MEETU CHILANA, JAMEN NANTHAKUMAR, JONATHAN RAVIV, LOUIS SALLAN, SHARONE SAYEGH IRAN MUSTACHE CRISIS Written, Directed, Edited & Performed by SADE NAMEI & ASSAL GHAWAMI THE ARTISTS WOULD LIKE TO THANK Sherz Aletaha, Thomas Dolan, Devanand Janki, Jonathan Raviv, Sharone Sayegh & Nandita Shenoy. Ars Nova operates on the unceded land of the Lenape peoples on the island of Manhahtaan (Mannahatta) in Lenapehoking, the Lenape Homeland. We acknowledge the brutal history of this stolen land and the displacement and dispossession of its Indigenous people. We also acknowledge that after there were stolen lands, there were stolen people. We honor the generations of displaced and enslaved people that built, and continue to build, the country that we occupy today. We gathered together in virtual space to watch this performance. We encourage you to consider the legacies of colonization embedded within the technology and structures we use and to acknowledge its disproportionate impact on communities of color and Indigenous peoples worldwide. We invite you to join us in acknowledging all of this as well as our shared responsibility: to consider our way forward in reconciliation, decolonization, anti-racism and allyship.
    [Show full text]
  • "American Salute" Celebrating the Centennial of Morton Gould
    Kennesaw State University College of the Arts School of Music presents American Salute Celebrating the Centennial of Morton Gould and featuring guest composer, Scott McAllister Tuesday, September 17, 2013 8:00 p.m Dr. Bobbie Bailey & Performance Center, Morgan Hall Fifth Concert of the 2013-14 Concert Season Program SCOTT MCALLISTER (b. 1969) Zing! (2008) Gone (2012) DivertiMetal (2006) I. quarter note = 96 II. eighth note = 54 III. quarter note = 120 Intermission KSU Chamber Music Ensemble The Music of ALEC WILDER (1907-1980) Kindergarten Flower Pageant (1942) Seldom the Sun (1940) It’s Silk- Feel It (1939) MORTON GOULD (1913-1996) American Salute (1942) Symphony for Band, "West Point" (1952) I. Epitaphs II. Marches Program Notes cott McAllister was born in Vero Beach, Florida, and completed his doctorate in composition at the Shepherd School of Music at Rice Uni- Sversity. McAllister has received numerous commissions, performances, and awards throughout the United States, Europe, and Asia. He has also been featured at the Aspen, Chautauqua, and The Prague/American In- stitute Summer Festivals. McAllister has received awards, performances, and/or commissions from ASCAP, The American Composers Orchestra, The Rascher Quartet, I Musici de Montreal, Charles Neidich, The Verdehr Trio, Jacksonville Symphony, Da Camera, The Ladislav Kubik Competi- tion, The United States New Music Ensemble, The President's Own Ma- rine Band, The Florida Arts Council, and The Florida Bandmaster's Asso- ciation. Scott McAllister's music is recorded on Summit Records, Naxos, ITunes and Centaur labels and his music can be found at Lydmusic.com. Scott McAllister is Professor of Composition at Baylor University.
    [Show full text]
  • TAKUMA ITOH 700 Stewart Ave
    TAKUMA ITOH 700 Stewart Ave. Apt. 3, Ithaca, NY 14850 (650) 534-4143 [email protected] http://www.takumaitoh.com Biography Takuma Itoh (b. 1984) spent his early childhood in Japan before moving to Northern California where he grew up. Described as “brashly youthful and fresh,” (New York Times), his music has been performed by the Albany Symphony, the Silesian Philharmonic Orchestra, the New York Youth Symphony, Symphony in C, the Shanghai Quartet, the St. Lawrence Quartet, the Momenta Quartet, the Chimeng Quartet, the Stanford Philharmonia Orchestra, the University of Michigan Symphony Orchestra, violinist Joseph Lin, Syzygy Ensemble, Argento Chamber Ensemble, New Spectrum Ensemble, the H2 Quartet, the Aspen Contemporary Ensemble, and the Cornell Wind Ensemble. He is the recipient of a Charles Ives Scholarship from the American Academy of Arts and Letters, four Morton Gould Young Composer Awards (including the 2010 Leo Kaplan Award), the American Composers Orchestra 2008 Underwood New Music Readings, Haddonfield Young Composer Competition, New York Youth Symphony First Music Commission, Renée B Fisher Composer Commission, Pioneer Valley Symphony Young Composers Competition, and Russell Horn Voices of Change Young Composer Award. He has attended Cornell University, the University of Michigan, and Rice University, studying composition with Steven Stucky, Roberto Sierra, Kevin Ernste, William Bolcom, Bright Sheng, Shih-Hui Chen, Anthony Brandt, Pierre Jalbert, Karim Al-Zand, and jazz piano with Geri Allen. He has also been a fellow at the Pacific Music Festival and the Aspen Music Festival and an associate artist at the Atlantic Center for the Arts. Beginning in the fall of 2012, he will join the faculty at the University of Hawaii in Manoa.
    [Show full text]
  • Articles Blog Posts
    More Than Words: Designs, Dance, and Graphic Notation in the Performing Arts Society of American Archivists, August 2021 / Virtual Tour Library of Congress, Music Division Resources Articles Library of Congress Magazine Brilliant Broadway: Volume 7, No. 3, May-June 2018: Christopher Hartten, “Brilliant by Design” Library of Congress Magazine - May/June 2018 (loc.gov) Blog Posts: In the Muse Albro, Sylvia. Undated. “Conservation Treatment of Seven Engraved Music Motets.” https://www.loc.gov/preservation/conservators/musicmotets/index.html Baumgart, Emily. May 29, 2021. “Cicada Terrible Freedom.” http://blogs.loc.gov/music/2021/05/cicada-terrible-freedom/ ______. March 11, 2021. "A New LGBTQ+ Resource from the Library of Congress Music Division" https://blogs.loc.gov/music/2021/03/a-new-lgbtq-resource-from-the-library-of-congress-music- division Doyle, Kaitlin (Kate). July 9, 2016. “Discovering the Music Within Our Dance Collections: Composer Lucia Dlugoszewski and the Erick Hawkins Dance Company.” http://blogs.loc.gov/music/2016/09/discovering-the-music-within-our-dance-collections- composer-lucia-dlugoszewski-and-the-erick-hawkins-dance-company/ Hartten, Chris. September 6, 2011. “The Bad Boy of Music.” https://blogs.loc.gov/music/2011/09/the-bad-boy-of-music/ ______. February 19, 2015. “Chameleon as Composer: The Colorful Life and Works of Lukas Foss.” http://blogs.loc.gov/music/2015/02/8620/ ______. April 27, 2011. “Good as Gould.” https://blogs.loc.gov/music/2011/04/good-as-gould/ Padua, Pat. July 25, 2012. “Clark Lights Up the Library.” http://blogs.loc.gov/music/2012/07/clark- lights-up-the-library/ Smigel, Libby.
    [Show full text]
  • Orchestra Personnel
    FROM SUFFRAGE TO STONEWALL 2019 DAVID ALAN MILLER HEINRICH MEDICUS MUSIC DIRECTOR DAVID ALAN MILLER, HEINRICH MEDICUS MUSIC DIRECTOR Grammy®Award-winning conductor David Alan Miller has established a reputation as one of the leading American conductors of his generation. Music Director of the Albany Symphony since 1992, Mr. Miller has proven himself a creative and compelling orchestra builder. Through exploration of unusual repertoire, educational programming, community outreach and recording initiatives, he has reaffirmed the Albany Symphony’s reputation as the nation’s leading champion of American symphonic music and one of its most innovative orchestras. He and the orchestra have twice appeared at “Spring For Music,” an annual festival of America’s most creative orchestras at New York City’s Carnegie Hall. Other accolades include Columbia University’s 2003 Ditson Conductor’s Award, the oldest award honoring conductors for their commitment to American music, the 2001 ASCAP Morton Gould Award for Innovative Programming and, in 1999, ASCAP’s first-ever Leonard Bernstein Award for Outstanding Educational Programming. Frequently in demand as a guest conductor, Mr. Miller has worked with most of America’s major orchestras, including the orchestras of Baltimore, Chicago, Cleveland, Detroit, Houston, Indianapolis, Los Angeles, New York, Philadelphia, Pittsburgh and San Francisco, as well as the New World Symphony, the Boston Pops and the New York City Ballet. In addition, he has appeared frequently throughout Europe, Australia and the Far East as guest conductor. He made his first guest appearance with the BBC Scottish Symphony in March, 2014. Mr. Miller received his Grammy Award in January, 2014 for his Naxos recording of John Corigliano’s “Conjurer,” with the Albany Symphony and Dame Evelyn Glennie.
    [Show full text]
  • A Most Average Musical
    The 10-Minute Musicals Collection LIBRETTO A MOST AVERAGE MUSICAL Book & Lyrics Music Based on a Jonathan Bob Kelly Screenplay by Keebler Talia Berger Licensing Agent Licensing Agent Music Theatre International Music Theatre International 423 West 55th Street, 2nd Floor 423 West 55th Street, 2nd Floor New York, NY 10019 New York, NY 10019 T: +1 (212) 541-4684 T: +1 (212) 541-4684 www.mtishows.com www.mtishows.com A MOST AVERAGE MUSICAL Book & Lyrics by Jonathan Keebler Music by Bob Kelly Based on a screenplay by Talia Berger Copyright © 2020 Theatre Now New York. Licensing Agent All Rights Reserved, Music Theatre International Cover Design: Andre Padayhag 423 West 55th Street, 2nd Floor Layout: Ben Van Buren (Yonkers International Press) New York, NY 10019 T: +1 (212) 541-4684 www.mtishows.com WWAIT!AIT! BEFORE REHEARSING COPYRIGHT WWARNINGARNING (SOME THINGS NEVER CHANGE) All music, lyrics and dialogue from the Play contained in this book are the property of the Authors and are fully protected by copyright. YYourour organization’s perfoormance license prohibits making any changes of any kind to the Play, including: • changes of music, lyrics, dialogue, sequence of songs and/or scenes, time period, setting, characters or characterizations or gender of characters in the Play; • adding new material (such as scenes or framing devices, characters or songs from any other version of the Playy,, including films); • omitting or adding any music, lyrics or dialogue. Any unauthorized changes shall constitute a willful infringement of the authors’ copyright and may subject your organization to civil liabilities and criminal penalties under the United States Copyright Act and other applicable statutes.
    [Show full text]
  • Oscar Hammerstein II Collection
    Oscar Hammerstein II Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2018 Contact information: http://hdl.loc.gov/loc.music/perform.contact Catalog Record: https://lccn.loc.gov/2014565649 Additional search options available at: https://hdl.loc.gov/loc.music/eadmus.mu018003 Processed by the Music Division of the Library of Congress Finding aid encoded by Library of Congress Music Division, 2018 Collection Summary Title: Oscar Hammerstein II Collection Span Dates: 1847-2000 Bulk Dates: (bulk 1920-1960) Call No.: ML31.H364 Creator: Hammerstein, Oscar, II, 1895-1960 Extent: 35,051 items Extent: 160 containers Extent: 72.65 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. LC Catalog record: https://lccn.loc.gov/2014565649 Summary: Oscar Hammerstein II was an American librettist, lyricist, theatrical producer and director, and grandson of the impresario Oscar Hammerstein I. The collection, which contains materials relating to Hammerstein's life and career, includes correspondence, lyric sheets and sketches, music, scripts and screenplays, production materials, speeches and writings, photographs, programs, promotional materials, printed matter, scrapbooks, clippings, memorabilia, business and financial papers, awards, and realia. Selected Search Terms The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically. People Brill, Leighton K.--Correspondence. Buck, Pearl S. (Pearl Sydenstricker), 1892-1973--Correspondence. Buck, Pearl S. (Pearl Sydenstricker), 1892-1973. Crouse, Russel, 1893-1966.
    [Show full text]
  • The Great American Songbook in the Classical Voice Studio
    THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT 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. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been
    [Show full text]
  • George Balanchine August Bournonville Sasha Janes Jerome Robbins
    George Balanchine August Bournonville Sasha Janes THTHEAEATETERR 1716/1/187 Jerome Robbins FOR YOUR INFORMATION Do you want more information about upcoming events at the Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through music.indiana.edu/publicity. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. Musical Arts Center The Musical Arts Center (MAC) Box Office is open Monday – Friday, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times. Other permit holders: Free access if entering after 5 p.m.
    [Show full text]
  • The Orchestra
    2017/18 EDUCATION AND COMMUNITY ENGAGEMENT Sounds of Home Young People’s Concert Teacher’s Guide Grades 3–8 February 1, 2018 Arlene Schnitzer Concert Hall, Portland Norman Huynh, conductor Gould: American Salute Márquez: Danzón No. 2 Bernstein: West Side Story Overture Copland: Variations on a Shaker Melody Dvořák: Largo from Symphony No. 9 in E Minor Sam Hyken: Tocatta y Fuga in D Minor Fernández: Batuque John Williams: Hedwig’s Theme Welcome Introduction Program (To listen, click the title) How To Use This Guide Gould: American Salute This guide is designed to accompany the 2017/18 Young People’s Concert, Márquez: Danzón No. 2 “Sounds of Home.” We offer background information on the pieces you will Bernstein: West Side Story Overture hear at the concert, along with a listening guide for each piece and biographical Copland: Variations on a Shaker Melody information about the composers. Dvořák: Largo from Symphony No. 9 in E Minor Also included are introductions to the four families of instruments (strings, Sam Hyken: Tocatta y Fuga in D Minor woodwinds, brass, and percussion) and online resources. It is our hope that Fernández: Batuque utilizing this guide will deepen the concert experience for your students. We John Williams: Hedwig’s Theme encourage you to fit this material into your teaching style and specific student needs. Goals of the Teacher’s Guide usage and concert attendance: Providing this guide online allows teachers to project information to the entire class and access listed websites in the resource section. All materials are developed • Introduce students to live orchestral music.
    [Show full text]
  • Developing Variation in the Late Work of Morton Gould and Why It Matters
    Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 10 Issue 1 Article 3 June 2021 Developing Variation in the Late Work of Morton Gould and Why It Matters J. Wesley Flinn University of Minnesota-Morris Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Composition Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Flinn, J. Wesley (2021) "Developing Variation in the Late Work of Morton Gould and Why It Matters," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 10 : Iss. 1 , Article 3. Available at: https://trace.tennessee.edu/gamut/vol10/iss1/3 This Article is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. Developing Variation in the Late Work of Morton Gould and Why It Matters Cover Page Footnote This research was supported by several grants from the University of Minnesota and the University of Minnesota-Morris, including the Imagine Fund and the Faculty Research Enhancement Fund. I am also grateful to Michael Berry and Rebecca Long for their comments and advice. This article is available in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: https://trace.tennessee.edu/gamut/vol10/iss1/3 DEVELOPING VARIATION IN THE LATE WORKS OF MORTON GOULD AND WHY IT MATTERS J.
    [Show full text]