DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 PRELUDE CONCERT III ^ Thursday, January 21, at 6 COMMUNITY CHAMBER CONCERT II Sunday, January 24, at 3, at the Museum of Afro American History, Boston The Community Chamber Concerts are supported by State Street Bank. CHAMBER MUSIC TEA III Friday, January 29, at 2:30 LUCY SHELTON, soprano NANCY BRACKEN, violin FENWICK SMITH, flute EDWARD GAZOULEAS, viola FRANK EPSTEIN, percussion CAROL PROCTER, cello ANN HOBSON PILOT, harp ANDERSON Vocalise for violin and harp (1980) THOMSON Five Phrases from Song of Solomon, for soprano and percussion Thou that dwellest in the gardens Return, O, Shulamite! O, my dove I am my beloved's By night on my bed LUCY SHELTON, soprano WILLIAMS "Adolescence/' for soprano, flute, and cello, from Seven for Luck (1998) Ms. SHELTON ROUSSEL Serenade, Opus 30, for flute, harp, violin, viola, and cello Allegro Andante Presto GINASTERA Cantos del Tucuman (1938), for soprano, flute, violin, harp, and percussion Yo naci en el valle Solita su alma Vida, vidita, vidala, vidalita Algarrobo, algarrobal Ms SHELTON HM Weeks 13/14 TNf mm NOTES Thomas Jefferson Anderson was born August 17, 1928, in Coatesville, Pennsylva- nia. He was the first black composer-in-residence at the Atlanta Symphony Orches- tra, holding that post from 1969 to 1971. He then served as chairman of the music department at Tufts University in Somerville, MA, from 1972 to 1980. As with many American composers of his generation, jazz was a big influence, and Anderson toured with a jazz band in his youth. He went on to earn degrees from West Virginia State College, Perm State, and the University of Iowa, where he received a Ph.D. The combined influence of jazz and popular music with the musical language of the classical avant-garde can be heard in much of his work, resulting in very colorful, often improvisatory use of instruments and beautifully lyrical, expressive melody. Vocalise was commissioned by sculptor Richard Hunt for Jacques and Gail Israe- livitch, who premiered the work in 1980 in St. Louis. Ann Hobson Pilot and Joel Smirnoff gave the Boston premiere in 1982 with Collage New Music. In Vocalise, we can hear the influence of blues and jazz as well as music of other cultures. These are evoked by way of Anderson's rhythmic language and his use of melodic elements such as quarter-tones (intervals smaller than the traditional Western half- step and common in Asian, African, and Middle Eastern music). The title refers to the melodic style throughout the piece, which is close to that of vocal writing. The composer and music critic Virgil Thomson was born in Kansas City, Mis- souri, in 1896 and, like his near-contemporary Hemingway, became famously expa- triot in Paris, first in 1921-22 and later from 1925 to 1940. The artistic scene in 1920s Paris was a hotbed of "exotic" influence: jazz imported by American soldiers after World War I, an influx (at least partly due to European imperialism) of anthropologi- cal artifacts from Africa and Asia, and at least a handful of Russians, including Stravinsky, Prokofiev, and Chagall, exiled from a homeland in turmoil. The young Thomson, having studied with Boulanger and become exposed to the Parisian avant- garde, adopted a compositional style that is a kind of "sophisticated primitivism." His harmonic and rhythmic materials are similar to, though for the most part much simpler than, the Stravinsky of L'Histoire du soldat, yet, like the music of Copland, Thomson's music seems the very embodiment of Americana. In Five Phrases from Song of Solomon, Thomson's music reaches an extreme of refinement, pared down as it is to pure melody and rhythm. The vocal part within each song remains almost entirely in a single mode (that is, with very little chromaticism) and achieves a char- acter of improvisation through its rhythm. The very simple percussion accompani- ment (entirely absent in the second song) reflects the timeless nature of the texts. John Williams, for many years conductor of the Boston Pops and now Conduc- tor Laureate of that orchestra, is probably best-known for his movie scores, includ- ing the Star Wars trilogy, Saving Private Ryan, and Schindler's List. Many of his fans may not realize that he's also a prolific composer for the concert hall. His Cello Concerto was commissioned by the Boston Symphony Orchestra and premiered on July 7, 1994, by the BSO, with Yo-Yo Ma as soloist and John Williams conducting, for the inauguration of Seiji Ozawa Hall at Tanglewood. Other works include a Violin Concerto and Five Sacred Trees for bassoon and orchestra. A new orchestral work by John Williams will receive its world premiere performance in April with Seiji Ozawa conducting the Boston Symphony Orchestra. Williams's orchestral song cycle Seven for Luck sets seven poems of former Poet Laureate Rita Dove. Such is the breadth of color and orchestration Williams uses that one of the songs, "Ado- lescence," requires only flute and cello in accompaniment to the voice. Thus what — we hear in these performances of "Adolescence" isn't a reinstrumentation for cham- ber ensemble, but the original scoring. Dove's poetry, like the other pieces on this concert, joins the apparently skew lines of the vernacular language of American and black popular culture with the "high" art of modernism. The Frenchman Albert Roussel was born in 1869, seven years after Debussy and six before Ravel; he died a few months before Ravel in 1937. Like his slightly more well-known compatriots, Roussel wrote in an idiom that, in spite of wide-ranging influences, is immediately identifiable as French. Roussel, in the footsteps of Gau- guin and Rimbaud, absorbed the world's culture through travel, for many years as a commissioned naval officer (like his younger contemporary, the composer Jean Cras). He resigned his commission in 1894 to study music in Paris; later he became a professor of counterpoint, with both Satie and Varese as pupils. His travel in the navy, and an extended tour of India and southeast Asia in 1909, strongly affected Roussel's music; along with Debussy (and Ravel less so) he was to heighten the interest in world culture that would culminate in the excitement of 1920s Paris. The Opus 30 Serenade was written in 1925. It can nearly be called a concertante for flute, since that instrument presents the lion's share of the melodic material (there is an extended viola melody in the second movement). Roussel's use of modal melody and harmony, as well as the gamelan-like rhythms of the accompaniment, provide the exotic coloring that characterizes much French music of the era. Alberto Ginastera (1916-1983) almost single-handedly brought Argentina into the cosmopolitan mainstream of modern classical music. Like the American T.J. Anderson, Ginastera was strongly influenced by the folk and popular traditions of his native country. Though he first worked in a nationalistic idiom influenced by Argentina's "gauchesco tradition," Ginastera's music in the 1950s used twelve-tone techniques (already hinted at in his folk-influenced earlier music) and a more objec- tive stance influenced by Stravinsky's neoclassicism. The combination of Argentine sensibilities and this mastery of the Modernist musical languages led to a couple of wild and wildly popular operas Don Rodrigo (1964) and Bomarzo (1967), which one critic referred to as "porno in bel canto." Ginastera had, since the 1940s, devel- oped strong ties to the United States, both as a musician and as a kind of diplomat for South American culture. Among many other performances, his opera Beatrix Cenci (1971) was premiered at the inaugural concerts of the Kennedy Center in Washington, D.C. Among later works, his Cello Concerto No. 2, written for his sec- ond wife, cellist Aurora Natola, was premiered by Natola in Buenos Aires in 1981. Cantos del Tucuman (1938) is one of Ginastera's earliest acknowledged works, and in it we can readily hear the influence of Argentine folk music. The title refers to a remote mountainous region in northern Argentina. Ginastera's settings of the poetry of Rafael Jijena Sanchez evoke the traditions of the area without direct quotation of folk sources—an approach already common with Stravinsky. The music's beautiful, almost naive surface is achieved by the intricate interplay of long-breathed melodies in each part. The yearning melancholy of the voice and the spaciousness of the set- tings begin almost to paint that landscape in our mind's eye. —Notes by Robert Kirzinger Jul m TEXTS VIRGIL THOMSON Five Phrases from Song of Solomon I Thou that dwellest in the gardens, the companions harken to thy voice, thy voice, cause me to hear it. II Return, O, Shulamite! Return that we may gaze upon thee. Ill O, my dove, that art in the clefts of the rocks, in the secret places of the stars, let me see thy countenance, let me hear thy voice. IV I am my beloved's and my beloved is mine. V By night on my bed I sought him whom my soul loveth I sought him but I found him not. I will arise /and go about the city in the streets and in the broad ways will I seek him whom my soul loveth. JOHN WILLIAMS "Adolescence" from Seven for Luck (poem by Rita Dove) In water-heavy nights behind grandmother's porch We knelt in the tickling grasses and whispered: Linda's face hung before us, pale as a pecan, And it grew wise as she said: "A boy's lips are soft, As soft as baby's skin." The air closed over her words.
Load more

Recommended publications
  • Children in Opera
    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
    [Show full text]
  • Copyright by Bonny Kathleen Winston 2003
    Copyright by Bonny Kathleen Winston 2003 The Development of a Multimedia Web Database for the Selection of 20th Century Intermediate Piano Repertoire by Bonny Kathleen Winston, B.M., M.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May, 2003 Dedication This dissertation would not have been completed without all of the love and support from professors, family, and friends. To all of my dissertation committee for their support and help, especially John Geringer for his endless patience, Betty Mallard for her constant inspiration, and Martha Hilley for her underlying encouragement in all that I have done. A special thanks to my family, who have been the backbone of my music growth from childhood. To my parents, who have provided unwavering support, and to my five brothers, who endured countless hours of before-school practice time when the piano was still in the living room. Finally, a special thanks to my hall-mate friends in the school of music for helping me celebrate each milestone of this research project with laughter and encouragement and for showing me that graduate school really can make one climb the walls in MBE. The Development of a Multimedia Web Database for the Selection of 20th Century Intermediate Piano Repertoire Publication No. ________________ Bonny Kathleen Winston, D.M.A. The University of Texas at Austin, 2003 Supervisor: John M. Geringer The purpose of this dissertation was to create an on-line database for intermediate piano repertoire selection.
    [Show full text]
  • 5 Stages for Teaching Alberto Ginastera's Twelve American Preludes Qiwen Wan First-Year DMA in Piano Pedagogy University of South Carolina
    5 Stages for Teaching Alberto Ginastera's Twelve American Preludes Qiwen Wan First-year DMA in Piano Pedagogy University of South Carolina Hello everyone, my name is Qiwen Wan. I am a first-year doctoral student in piano pedagogy major at the University of South Carolina. I am really glad to be here and thanks to SCMTA to allow me to present online under this circumstance. The topiC of my lightning talk is 5 stages for teaChing Alberto Ginastera's Twelve AmeriCan Preludes. First, please let me introduce this colleCtion. Twelve AmeriCan Preludes is composed by Alberto Ginastera, who is known as one of the most important South AmeriCan composers of the 20th century. It was published in two volumes in 1944. In this colleCtion, there are 12 short piano pieCes eaCh about one minute in length. Every prelude has a title, tempo and metronome marking, and eaCh presents a different charaCter or purpose for study. There are two pieCes that focus on a speCifiC teChnique, titled Accents, and Octaves. No. 5 and 12 are titled with PentatoniC Minor and Major Modes. Triste, Creole Dance, Vidala, and Pastorale display folk influences. The remaining four pieCes pay tribute to other 20th-Century AmeriCan composers. This set of preludes is an attraCtive output for piano that skillfully combines folk Argentine rhythms and Colors with modern composing teChniques. Twelve American Preludes is a great contemporary composition for late-intermediate to early-advanced students. In The Pianist’s Guide to Standard Teaching and Performing Literature, Dr. Jane Magrath uses a 10-level system to list the pieCes from this colleCtion in different levels.
    [Show full text]
  • Proquest Dissertations
    Benjamin Britten's Nocturnal, Op. 70 for guitar: A novel approach to program music and variation structure Item Type text; Dissertation-Reproduction (electronic) Authors Alcaraz, Roberto Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 13:06:08 Link to Item http://hdl.handle.net/10150/279989 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 f^ any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitlsd. Brolcen 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 dkl 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 deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectk)ning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. 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 additkxial charge.
    [Show full text]
  • COPLAND, CHÁVEZ, and PAN-AMERICANISM by Candice
    Blurring the Border: Copland, Chávez, and Pan-Americanism Item Type text; Electronic Thesis Authors Sierra, Candice Priscilla Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 23:10:39 Link to Item http://hdl.handle.net/10150/634377 BLURRING THE BORDER: COPLAND, CHÁVEZ, AND PAN-AMERICANISM by Candice Priscilla Sierra ________________________________ Copyright © Candice Priscilla Sierra 2019 A Thesis Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2019 3 TABLE OF CONTENTS List of Musical Examples ……...……………………………………………………………… 4 Abstract………………...……………………………………………………………….……... 5 Introduction……………………………………………………………………………………. 6 Chapter 1: Setting the Stage: Similarities in Upbringing and Early Education……………… 11 Chapter 2: Pan-American Identity and the Departure From European Traditions…………... 22 Chapter 3: A Populist Approach to Politics, Music, and the Working Class……………....… 39 Chapter 4: Latin American Impressions: Folk Song, Mexicanidad, and Copland’s New Career Paths………………………………………………………….…. 53 Chapter 5: Musical Aesthetics and Comparisons…………………………………………...... 64 Conclusion……………………………………………………………………………………. 82 Bibliography………………………………………………………………………………….. 85 4 LIST OF MUSICAL EXAMPLES Example 1. Chávez, Sinfonía India (1935–1936), r17-1 to r18+3……………………………... 69 Example 2. Copland, Three Latin American Sketches: No. 3, Danza de Jalisco (1959–1972), r180+4 to r180+8……………………………………………………………………...... 70 Example 3. Chávez, Sinfonía India (1935–1936), r79-2 to r80+1……………………………..
    [Show full text]
  • Bomarzo - Opera En 2 Actos Y 15 Cuadros
    Bomarzo - Opera en 2 actos y 15 cuadros Alberto Ginastera Libreto de Manuel Mujica Láinez Basada en su novela homónima del escritor Obra encargada por Hobart Spalding, presidente de la Opera Society de Washington. Estrenado: 19 mayo 1967, Washington DC, Lisner Auditorium, con dirección de Julius Rudel, Regie de Tito Cappobianco. Intérpretes: Salvador Novoa, Isabel Penagos, Joanna Simon, Claramae Turner. Estreno Sudamericano, Teatro Colón, 1972 El argumento narra la vida de Pier Francesco Orsini, duque de Bomarzo, perteneciente a una noble familia romana, de cuya historia real existen pocos datos y por esto mismo resulta el personaje ideal para ser recreado por el escritor Manuel Mujica Láinez (1910-1984) que le da una nueva vida, literaria pero verosímil, rescatándolo así del anonimato. El protagonista da pie para evocar a toda una serie de personajes históricos que componen un impresionante fresco del Renacimiento italiano tardío, el del siglo XVI, conocido allí como“cinquecento”. Siglo XVI. El Duque de Bomarzo, Pier Francesco Orsini, cuyo aspecto y pecados se reflejan en las figuras de piedra en su jardín, bebe una poción para conseguir la inmortalidad, pero es envenenado. Ve pasar distintos episodios de su vida pasada, su infancia despreciada, su horóscopo siniestro, su unión con una cortesana, la provocación de su padre, su fracaso al tratar de salvar a su hermano de la muerte en el Tiber, y en consecuencia, su reinado como Duque, con sus celos y asesinatos. Ambientada en la Italia renacentista es una minuciosa reconstrucción del ambiente que dominaba aquel entonces en el mundo de los condottieri, prelados, artistas y hombres del pueblo.
    [Show full text]
  • Rhythmic and Metric Structure in Alberto Ginastera's Piano Sonatas
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2011 Rhythmic And Metric Structure In Alberto Ginastera's Piano Sonatas Rachel Hammond University of Central Florida Part of the Music 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 Hammond, Rachel, "Rhythmic And Metric Structure In Alberto Ginastera's Piano Sonatas" (2011). Electronic Theses and Dissertations, 2004-2019. 2044. https://stars.library.ucf.edu/etd/2044 RHYTHMIC AND METRIC STRUCTURE IN ALBERTO GINASTERA’S PIANO SONATAS by RACHEL HAMMOND B.M. Stetson University, 2008 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Music in the Department of Music in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2011 ABSTRACT Alberto Ginastera (1916-1983) was one of the leading South American composers of the twentieth century. Born in Argentina at a time when his country was striving to achieve a national identity and culture, Ginastera was recognized for combining the techniques of Western European art music with elements of Argentine folk music. His piano sonatas, composed during both his early and late periods, serve as excellent examples of this cultural synthesis throughout the course of his career.
    [Show full text]
  • 171 //#/ /Yo, 76/5" the FOURTEEN SERESTAS of HEITOR VILLA
    171 //#/ /yo, 76/5" THE FOURTEEN SERESTAS OF HEITOR VILLA-LOBOS (1887-1959) THESIS > Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Noe Sanchez, B.M. Denton, Texas August, 1999 Sanchez, Noe, The Fourteen Setesta's of Heitor Villa- T.obos (1887-1959) . Master of Music (Musicology), August, 1999, 156 pp., 16 charts, 12 musical scores, 14 translations, discography, bibliography, 66 titles. The Fourteen Serestas of Heitor Villa-Lobos comprise a group of songs that expresses Villa-Lobos's compositional technique for the voice. These songs are challenging as a topic because not much historical or analytical research has been done on them. I approach the topic by providing historical background on the modinha and how it relates to the serSsta. This is followed by a descriptive analysis in the order of the set, which includes musical examples, chart diagrams, and comparisons of the serestas to other works. I hope to have contributed valuable information to the research of these songs since Villa-Lobos wrote over ninety solo vocal songs which still await analysis and discussion. This thesis is a contribution toward narrowing this gap. 171 //#/ /yo, 76/5" THE FOURTEEN SERESTAS OF HEITOR VILLA-LOBOS (1887-1959) THESIS > Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Noe Sanchez, B.M. Denton, Texas August, 1999 Copyright by Noe Sanchez 1999 111 ACKNOWLEDGMENT S I would like to thank Dr.
    [Show full text]
  • Art Works Grants
    National Endowment for the Arts — December 2014 Grant Announcement Art Works grants Discipline/Field Listings Project details are as of November 24, 2014. For the most up to date project information, please use the NEA's online grant search system. Art Works grants supports the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts. Click the discipline/field below to jump to that area of the document. Artist Communities Arts Education Dance Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Page 1 of 168 Artist Communities Number of Grants: 35 Total Dollar Amount: $645,000 18th Street Arts Complex (aka 18th Street Arts Center) $10,000 Santa Monica, CA To support artist residencies and related activities. Artists residing at the main gallery will be given 24-hour access to the space and a stipend. Structured as both a residency and an exhibition, the works created will be on view to the public alongside narratives about the artists' creative process. Alliance of Artists Communities $40,000 Providence, RI To support research, convenings, and trainings about the field of artist communities. Priority research areas will include social change residencies, international exchanges, and the intersections of art and science. Cohort groups (teams addressing similar concerns co-chaired by at least two residency directors) will focus on best practices and develop content for trainings and workshops.
    [Show full text]
  • The Musical Language of Alberto Ginastera's Panambí and The
    THE MUSICAL LANGUAGE OF ALBERTO GINASTERA’S PANAMBÍ AND THE INFLUENCE OF CLAUDE DEBUSSY’S LA MER AND IGOR STRAVINSKY’S LE SACRE DU PRINTEMPS Kenneth R. Lovern Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS December 2015 APPROVED: Paul Dworak, Major Professor Bernardo Illari, Committee Member David Schwarz, Committee Member Frank Heidlberger, Chair of Music History, Theory and Ethnomusicology Benjamin Brand, Director of Graduate Studies, College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Graduate School Lovern, Kenneth R. The musical language of Alberto Ginastera’s Panambí and the influence of Claude Debussy’s La Mer and Igor Stravinsky’s Le Sacre du Printemps. Master of Arts (Music Theory), December 2015, 84 pp., 49 illustrations, bibliography, 25 titles. Alberto Ginastera completed his ballet Panambí in 1937. The ballet was arranged as a symphonic suite, and was performed the same year at the Teatro Colon in Buenos Aires, conducted by Juan José Castro. Panambí marked the beginning of Alberto Ginastera’s long and successful career as an Argentine composer. Chapter I of this document provides a brief introduction into the history behind Alberto Ginastera’s Panambí suite, and includes a review of the research that is exclusively devoted to the suite, as well as documents that do not provide direct analyses of Panambí, but contain information that aid in a better understanding of the suite’s composition. Chapter II includes analyses of the suite that illustrate important elements that contribute to the structure and sound of the Panambí suite.
    [Show full text]
  • Alberto Ginastera's Sonata for Guitar Op. 47: an Analysis
    Alberto Ginastera's Sonata for Guitar Op. 47: an analysis Item Type text; Dissertation-Reproduction (electronic) Authors King, Charles, 1956- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 09:55:28 Link to Item http://hdl.handle.net/10150/565537 ALBERTO GINASTERA'S SONATA FOR GUITAR OP. 47: AN ANALYSIS by Charles King Copyright © Charles King 1992 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 9 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Charles Kina______________ ______ entitled ALBERTO GINASTERA1S SONATA FOR GUITAR______________ OPUS 47: AN ANALYSIS_________________________________ and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts____________________ 12/3/91 Date 12/ 3/91 Date 12/3/91 Grayson Hirst Date Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. * I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. 12/3/91 * Director Thomas Patterson Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.
    [Show full text]
  • UNIVERSITY of CALIFORNIA RIVERSIDE the 1964 Festival Of
    UNIVERSITY OF CALIFORNIA RIVERSIDE The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Alyson Marie Payne September 2012 Dissertation Committee: Dr. Leonora Saavedra, Chairperson Dr. Walter Clark Dr. Rogerio Budasz Copyright by Alyson Marie Payne 2012 The Dissertation of Alyson Marie Payne is approved: ______________________________________________________________ ______________________________________________________________ _______________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgments I would like to acknowledge the tremendous help of my dissertation committee, Dr. Leonora Saavedra, Dr. Walter Clark, and Dr. Rogerio Budasz. I am also grateful for those that took time to share their first-hand knowledge with me, such as Aurelio de la Vega, Juan Orrego Salas, Pozzi Escot, and Manuel Halffter. I could not have completed this project with the support of my friends and colleagues, especially Dr. Jacky Avila. I am thankful to my husband, Daniel McDonough, who always lent a ready ear. Lastly, I am thankful to my parents, Richard and Phyllis Payne for their unwavering belief in me. iv ABSTRACT OF THE DISSERTATION The 1964 Festival of Music of the Americas and Spain: A Critical Examination of Ibero- American Musical Relations in the Context of Cold War Politics by Alyson Marie Payne Doctor of Philosophy, Graduate Program in Music University of California, Riverside, September 2012 Dr. Leonora Saavedra, Chairperson In 1964, the Organization of American States (OAS) and the Institute for Hispanic Culture (ICH) sponsored a lavish music festival in Madrid that showcased the latest avant-garde compositions from the United States, Latin America, and Spain.
    [Show full text]