Bulletin 2006/Music/Pages

Total Page:16

File Type:pdf, Size:1020Kb

Bulletin 2006/Music/Pages ale university July 20, 2006 2007 – Number 4 bulletin of y Series 102 School of Music 2006 bulletin of yale university July 20, 2006 School of Music Periodicals postage paid New Haven, Connecticut 06520-8227 ct bulletin of yale university bulletin of yale New Haven Bulletin of Yale University The University is committed to basing judgments concerning the admission, education, and employment of individuals upon their qualifications and abilities and affirmatively seeks to Postmaster: Send address changes to Bulletin of Yale University, attract to its faculty, staff, and student body qualified persons of diverse backgrounds. In PO Box 208227, New Haven ct 06520-8227 accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against any individual on PO Box 208230, New Haven ct 06520-8230 account of that individual’s sex, race, color, religion, age, disability, status as a special disabled Periodicals postage paid at New Haven, Connecticut veteran, veteran of the Vietnam era, or other covered veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation. Issued seventeen times a year: one time a year in May, November, and December; two times University policy is committed to affirmative action under law in employment of women, a year in June; three times a year in July and September; six times a year in August minority group members, individuals with disabilities, special disabled veterans, veterans of the Vietnam era, and other covered veterans. Managing Editor: Linda Koch Lorimer Inquiries concerning these policies may be referred to Valerie O. Hayes, Special Adviser Editor: David J. Baker to the Provost and Director of the Office for Equal Opportunity Programs, 104 William L. Editorial and Publishing Office: 175 Whitney Avenue, New Haven, Connecticut Harkness Hall, 203.432.0849. Publication number (usps 078-500) In accordance with both federal and state law, the University maintains information con- cerning current security policies and procedures and prepares an annual crime report con- The closing date for material in this bulletin was June 30, 2006. cerning crimes committed within the geographical limits of the University. Upon request to The University reserves the right to withdraw or modify the courses of instruction or to the Office of the Secretary of the University, PO Box 208230, New Haven 06520-8230, change the instructors at any time. ct 203.432.2310, the University will provide such information to any applicant for admission. ©2006 by Yale University. All rights reserved. The material in this bulletin may not be In accordance with federal law, the University prepares an annual report on participation reproduced, in whole or in part, in any form, whether in print or electronic media, without rates, financial support, and other information regarding men’s and women’s intercollegiate written permission from Yale University. athletic programs. Upon request to the Director of Athletics, PO Box 208216, New Haven ct 06520-8216, 203.432.1414, the University will provide its annual report to any student or Inquiries prospective student. Requests for bulletins and application material should be addressed to the Admissions Office, Yale School of Music, PO Box 208246, New Haven ct 06520-8246. For all other matters related to admission to the School of Music, please telephone the Admissions Office, 203.432.4155. School of Music 2006–2007 bulletin of yale university Series 102 Number 4 July 20, 2006 er sh Fi reet r St anne C y tis m ur lla C Be treet Cottage S ity in 9 iv l d 45 D oo n ch ua of S rq e ic a el ut us M p it M ha st d C In re ac Q S SD reet yale university campus north Lawrence St l na io at se s rn ou tt te H e e In B us Ho 75 y S 1 le t ee b er ry . r a o R G L l itn at al al Le rv o i H e n or h bs et m rs O a ards Stre e n Edw M Ma e S l t 9 b t r 0 a c e in je 3 P ta ro e r us P t o S d s o p Fo ge e rm a c a ar t F G S ge t a r S sh al e n- ar ic e so M an t er ot n Pi B de Bishop Street ar et 0 G Stre 34 rds dwa 60 ht E 3 rig 0 W 38 ab L L 1 4 EA ce 30 95 > Pla f 1 ng ide o di ills ss ry il H la ist Bu NORTH C em ch 50 t 14 h ar 3 h t 3 C e rig es es W W Humphrey Str R b eet La e try 0 lin is 31 K em Ch b La er nt Ce n s io as at y g B rm og lin ry fo ol er ist In n 6 St m ch es 27 e Te ic Ch rv b e a ab S 1 y L L 2 ne bs 2 it ib h ue 54 e G W n 2 in y ve ge Kl og A ra et ol a re Bi r G St we nd To dla 0 e oo 23 an W lo cs S si ab hy ab e L P L in gy Kl lo e eo nc G 5 ie - 20 Sc ge s ill e Sa er H ag w W ar 10 Bo l h G 2 al H i t et n re y e t y S 54 od on 19 al ab m A 81 t 2 f nt e u v 1 p o P e e m 20 s e s u n o as nm M C Cl ro u i e nv ce E en 75 ci r 1 P S te r en o C t s 55 e p n 1 e s e r r ll o t a c sb g t O S In bs r nk S La 58 e i t 1 t R r s e w b M e o e s h a t t n rc e a t W n Stre v o s E H l e f hem ll l i Sac n a a e e atso H H r ld W t ter S W S Cen i t n n r s l c e r h e 0 de 1 o e 7 5 c s t un f t t o o n n l i er F l o e ch l o m a L A a h e b ll s ve 0 0 H Sc ag in a t’ n 8 4 an te H en Br u 1 M S id adley Street e es n Pr se t o 6 u e s 4 o 1 e ld s H 2 r a n 1 t dd n o S y o m u ar D l M r om 4 o b 2 37 t Li C 1 s i l r al B H 38 d d ra n rg ns o e io 35 m nd ss am U i ll H Place dm a 4 ect e A H rosp t uc in P c L l lw e pe al Al s r eet s H Ro te Str ro e 0 n e ck P c 3 Ce lic ) Lo 8 la o n P 27 (P tio from I-91 ta S 28 77 87 Can al S H 42 t i 4 re et l e tre l t S h bull 24 3 Trum o -4 43 u 2 s 43 e e t e g ua n n A l s lo ri th l a ad ce a ee v al s l on gr vi e e n a i 5 r M in He ic le H 1 at 5 er e GROVE STREET ng r n rv e y 42 rn nd r S E e u H e nt Se dl te r U ee P e e a In e r F C H nt Ca IE CEMETERY on e d ts C an Wa ll et 5 Ha Le r 40 ve li 5 Audubon Street O 1 b e on La c ct n a e o l B s P s m a ie a M W e v h 6 a n h k 2- D u a 0 D i 1 b t L a n L e P y T n r 6 e a 9 e o A m - m v n r 0 c A s a 9 a s p e L te l e p n c h e d n P w n n l e m r u C Ne de c tla ne e y e si u t ir r e e r e n K a S ld tn a R S W e e i s t f ll S t u h u o r n l e a t r e l W v q H r H e s a e e o H ro e S S 0 e r e e S 7 R G a S 3 t u k t t q r S e o yn y Y al a ne tr P it n ty Grove Street h Ce er si W w er s ym Po t iv on G an Un m 5 Pl m 26 Co 0 25 y y th se o t l ol an im h ia y g o m T ig nc s a lin HEW W l li w a e w of r e ITT al il D in ic 6 k l te te k H S F rv 4 r al a S gs ec t e 2 a H du w n n en S ns P e a s a di ei y QUAD e d ki rs r ie L il B ar dg 3 tu p r o G d u br ri 49 S m e M tu B Li b ey s o w S od tn ie y T o o hi it a e T W l W an R us al m o H Hu er H Continued on next page Wall Street nt Ce ra ue z s g l 90 0 66 E le y ra ll ke - 8 ti ff le p a c ll 82 a S O s ic e S H oe a fk y y’ us y rk t H li a or M ar e S S 0 dw r M r B H 32 e a te ib L L al ro a L ng CC W 1 Y e B he rli l 45 or T te ia st y S or k a m ry oo 35 dw e ra CROSS CAMPUS e B oa M ib al B t r L Y t W ro B ss t u 2 s 43 e e t e g ua n n A l s lo ri th l a ad ce a ee v al s l on gr vi e e n a i 5 r M in He ic le H 1 at 5 er e GROVE STREET ng r n rv e y 42 rn nd r S E e u H e nt Se dl te r U ee P e e a In e r F C H nt Ca IE CEMETERY on e d ts C an Wa ll et 5 Ha Le r 40 ve li 5 Audubon Street O 1 b e on La c ct n a e o l B s P s m a ie a M W e v h 6 a n h k 2- D u a 0 D i 1 b t L a n L e P y T n r 6 e a 9 e o A m - m v n r 0 c A s a e 9 a s p e L t l e p n c h e d n P w n n l e m r u C Ne de c tla ne e y e si u t ir r e e r e n K a S ld tn a R S W e e i s t f ll S t u h u o r n l e a t r e l W v q H r H e s a e e o H ro e S S 0 e r e e S 7 R G a S 3 t u k t t q r S e o l yn ey Y a Pa tn tr Grove Street hi en r ity W C e rs m ow ve ns y P nt ni o G la U m 65 P om 2 C 50 y 2 y th se o t l ol an im h ia y g o m T ig nc s a lin HEW W l li w a e w of r e ITT al il D in ic 6 k l te te k H S F rv 4 r al a S gs ec t e 2 a H du w n n en S ns P e a s a di ei y QUAD e d ki rs r ie L il B ar dg 3 tu p r o G d u br ri 49 S m e M tu B Li b ey s o w S od tn ie y T o o hi it a e T W l W an R us al m o H Hu er H Wall Street nt Ce ra ue z s g l 90 0 66 E le y ra ll ke 2- 8 ti ff le p a c ll 8 a S O s ic e S H oe a fk y y’ us y rk t H li a or M ar e S S 0 dw r M r B H 32 e a te ib L L al ro a L ng CC W 1 Y e B he rli l 45 yale university campus south & yale medical center or T te ia st y S or k a m ry oo 35 dw e ra CROSS CAMPUS e B oa M ib al B t r L Y t ro B ss t W e a e ha d h e e w r e l g e e le a t i P 2 r y e 0 r y r A e L t v 3 t en ll t e u S a S e S r H r t o e t e e i h i l S r s r g d i e c V p l r n n t n k ul y u e n r 3 a e e u b l o H l 4 m e h C r o l 1 h m rk al a 9 e O Y u 4 H T Tr Be C 1 C n tio ta e Elm Street S ic le ff e ll Elm Street a O fe tte Y st ur a el 5 04 Po - D B ap 19 3 an Ch s ok nm t a l ro La gh am om e b ri n h ap ay W ar .
Recommended publications
  • A Comparison of the Piano and Guitar Versions of Isaac Albéniz's Spanish Suite Op
    A COMPARISON OF THE PIANO AND GUITAR VERSIONS OF ISAAC ALBÉNIZ'S SPANISH SUITE OP. 47 by YI-YIN CHIEN A LECTURE-DOCUMENT Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts November 2016 2 “A Comparison of the Piano and Guitar Versions of Isaac Albéniz’s Spanish Suite, Op. 47’’ a document prepared by Yi-Yin Chien in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This document has been approved and accepted by: Jack Boss, Chair of the Examining Committee Date: November 20th, 2016 Committee in Charge: Dr. Jack Boss, Chair Dr. Juan Eduardo Wolf Dr. Dean Kramer Accepted by: Director of Graduate Studies, School of Music and Dance © 2016 Yi-Yin Chien 3 CURRICULUM VITAE NAME OF AUTHOR: Yi-Yin Chien PLACE OF BIRTH: Taiwan DATE OF BIRTH: November 02, 1986 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, School of Music and Dance Peabody Institute of the Johns Hopkins University Tainan National University of Arts DEGREES AWARDED: Doctor of Musical Arts, 2016, University of Oregon Master of Music, 2011, Peabody Institute of the Johns Hopkins University Bachelor of Music, 2009, Tainan National University of Arts AREAS OF SPECIAL INTEREST: Piano Pedagogy Music Theory PROFESSIONAL EXPERIENCE: College Piano Teaching, University of Oregon, School of Music and Dance, 09/2014 - 06/2015 Taught piano lessons for music major and non-major college students Graduate Teaching
    [Show full text]
  • Markand Thakar, Music Director
    Baltimore Chamber Orchestra PRESS PACKET markand thakar, music director 2015-2016 www.thebco.org HISTORY markand thakar, music director Baltimore Chamber Orchestra’s first performance, led by Maestra Anne Harrigan, was on January 29, 1984. She introduced the audience to a classical orchestra offering virtuoso performances that touch the heart. From its beginning, Baltimore Chamber Orchestra has grown to occupy an essential niche in the thriving arts scene of greater Baltimore. Our core repertoire is the overtures, concertos, and symphonies of Classical Era masters Haydn, Mozart Beethoven, Mendelssohn and Schubert, which we perform with the actual sized ensemble for which it was composed. BCO remains a group of exceptional musicians who are passionate about their performances. Indeed, the orchestra strives to meet the same standard established at its inception in 1984: to provide accessible, high-quality, classical music with an intimate touch. Markand Thakar joined BCO as music director in June 2004. Maestro Thakar made his debut with the New York Philharmonic in 1997 and has since appeared with that orchestra multiple times, along with numerous orchestras across North America. Former music director of the Duluth Superior Symphony Orchestra and principal conductor of Duluth Festival Opera, he is co- director of graduate conducting at the Peabody Conservatory and the author of two seminal works: Counterpoint: Fundamentals of Music Making (Yale University Press, 1990) and Looking for the “Harp” Quartet: An Investigation into Musical Beauty (University of Rochester Press, 2011). Since the 2009-10 season, Maestro Thakar’s annual intensive conducting programs bring dozens of conductors from around the world to work with him and the BCO musicians.
    [Show full text]
  • Complete Beethoven Piano Sonatas--Artur Schnabel (1932-1935) Added to the National Registry: 2017 Essay by James Irsay (Guest Post)*
    The Complete Beethoven Piano Sonatas--Artur Schnabel (1932-1935) Added to the National Registry: 2017 Essay by James Irsay (guest post)* Artur Schnabel Austrian pianist Artur Schnabel has been called “the man who invented Beethoven”... a strange thing to say considering Schnabel was born more than half a century after Beethoven, universally recognized as the greatest composer in Europe, died in 1827. What, then, did Artur Schnabel invent? The 32 piano sonatas of Ludwig van Beethoven (1770-1827) represent one of the great artistic achievements in human history, and stand as the musical autobiography of the great composer's maturity, from his 25th until his 53rd year, four years before his death. The fruit of those years mark a staggering creative journey that began and ended in the composer's adopted home of Vienna, “Music Central” to the German-speaking world. Beethoven's musical path led from the domain of Haydn and Mozart to the world of his late period, when the agonizing progress of his deafness had become complete. By then, Beethoven's musical narrative had begun to speak a new language, proceeding according to a new logic that left many listeners behind. While the beauties of his music and his deep genius were generally recognized, at the same time, it was thought by some critics that Beethoven frequently smudged things up with his overly- bold, unfettered invention, even well before his final period: Beethoven, who is often bizarre and baroque, takes at times the majestic flight of an eagle, and then creeps in rocky pathways. He first fills the soul with sweet melancholy, and then shatters it by a mass of shattered chords.
    [Show full text]
  • Rachmaninoff's Rhapsody on a Theme By
    RACHMANINOFF’S RHAPSODY ON A THEME BY PAGANINI, OP. 43: ANALYSIS AND DISCOURSE Heejung Kang, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2004 APPROVED: Pamela Mia Paul, Major Professor and Program Coordinator Stephen Slottow, Minor Professor Josef Banowetz, Committee Member Steven Harlos, Interim Chair of Piano Jessie Eschbach, Chair of Keyboard Studies James Scott, Dean of the College of Music Sandra L. Terrill, Interim Dean of the Robert B. Toulouse School of Graduate Studies Kang, Heejung, Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43: Analysis and Discourse. Doctor of Musical Arts (Performance), May 2004, 169 pp., 40 examples, 5 figures, bibliography, 39 titles. This dissertation on Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43 is divided into four parts: 1) historical background and the state of the sources, 2) analysis, 3) semantic issues related to analysis (discourse), and 4) performance and analysis. The analytical study, which constitutes the main body of this research, demonstrates how Rachmaninoff organically produces the variations in relation to the theme, designs the large-scale tonal and formal organization, and unifies the theme and variations as a whole. The selected analytical approach is linear in orientation - that is, Schenkerian. In the course of the analysis, close attention is paid to motivic detail; the analytical chapter carefully examines how the tonal structure and motivic elements in the theme are transformed, repeated, concealed, and expanded throughout the variations. As documented by a study of the manuscripts, the analysis also facilitates insight into the genesis and structure of the Rhapsody.
    [Show full text]
  • AN ANALYSIS of “SEVEN LAST WORDS from the CROSS” (1993) by JAMES MACMILLAN by HERNHO PARK DISSERTATION Submitted in Partial
    AN ANALYSIS OF “SEVEN LAST WORDS FROM THE CROSS” (1993) BY JAMES MACMILLAN BY HERNHO PARK DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Choral Music in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Doctoral Committee: Professor Barrington Coleman, Chair Professor Carlos Carrillo, Director of Research Professor Michael Silvers Professor Fred Stoltzfus ABSTRACT James MacMillan is one of the most well-known and successful living composers as well as an internationally active conductor. His musical language is influenced by his Scottish heritage, the Catholic faith, and traditional Celtic folk music, blended with Scandinavian and European composers including Olivier Messiaen (1908-1992), Alfred Schnittke (1943-1998), and Igor Stravinsky (1882-1971). His cantata for choir and strings Seven Last Words from the Cross, was commissioned by BBC (British Broadcasting Corporation) television, composed in 1993, and premiered in 1994 by Cappella Nova and the BT (British Telecom) Scottish Ensemble. While this piece is widely admired as one of his best achievements by choral conductors and choirs, it is rarely performed, perhaps due to its high level of difficulty for both the string players and singers. The purpose of this dissertation is to present an analysis of the Seven Last Words from the Cross by James MacMillan aimed to benefit choral conductors rather than audiences. Very little has been written about MacMillan's choral works. My hope is to establish a foundation on which future scholars may expand and explore other choral works by MacMillan.
    [Show full text]
  • 3770001904221.Pdf
    This is America! Meredith Monk (b. 1942) 1 Ellis Island 3’02 Leonard Bernstein (1918-1990) Symphonic Dances from West Side Story (transcription: John Musto) 2 Prologue 4’18 3 Somewhere 4’29 4 Mambo 2’19 5 Cha-Cha 1’02 6 Meeting Scene 0'41 7 Cool 0’38 8 Fugue 3’02 9 Rumble 2’01 10 Finale 2’27 Philip Glass (b. 1937) Four Movements for Two Pianos 11 Movement 1 6’21 12 Movement 2 4’49 13 Movement 3 6’19 14 Movement 4 5’30 John Adams (b. 1947) Hallelujah Junction 15 Movement 1 6’43 16 Movement 2 2’52 17 Movement 3 5’58 TT: 62’34 3 THIS IS AMERICA! | VANESSA WAGNER & WILHEM LATCHOUMIA Entretien avec Vanessa Wagner et Wilhem Latchoumia Apparu au milieu des années 60 aux États-Unis, le courant minimaliste a longtemps tutoyé l’avant-garde avant de gagner, au fil des ans, une audience beaucoup plus large et de s’imposer comme une étape majeure de la musique contemporaine. Terry Riley, La Monte Young, Steve Reich et Philip Glass, tous américains, sont considérés comme les pionniers de ce courant. Si beaucoup de ces compositeurs contestent l’étiquette minimaliste, réductrice à leurs yeux, leur approche se rejoint dans la recherche de nouvelles structures musicales, comme l’emploi de motifs répétitifs, une certaine forme de dépouillement et l’emploi de certains procédés spécifiques (la technique de « phasing » de Reich, utilisant simultanément des enregistrements avec un léger décalage). Les minimalistes ont intégré de nombreuses influences pour nourrir leur travail, le jazz et l’improvisation pour Terry Riley, la mouvance expérimentale pour La Monte Young, la musique indienne pour Philip Glass, les cultures africaines pour Steve Reich.
    [Show full text]
  • Daniel Saidenberg Faculty Recital Series
    Daniel Saidenberg Faculty Recital Series Frank Morelli, Bassoon Behind every Juilliard artist is all of Juilliard —including you. With hundreds of dance, drama, and music performances, Juilliard is a wonderful place. When you join one of our membership programs, you become a part of this singular and celebrated community. by Claudio Papapietro Photo of cellist Khari Joyner Photo by Claudio Papapietro Become a member for as little as $250 Join with a gift starting at $1,250 and and receive exclusive benefits, including enjoy VIP privileges, including • Advance access to tickets through • All Association benefits Member Presales • Concierge ticket service by telephone • 50% discount on ticket purchases and email • Invitations to special • Invitations to behind-the-scenes events members-only gatherings • Access to master classes, performance previews, and rehearsal observations (212) 799-5000, ext. 303 [email protected] juilliard.edu The Juilliard School presents Faculty Recital: Frank Morelli, Bassoon Jesse Brault, Conductor Jonathan Feldman, Piano Jacob Wellman, Bassoon Wednesday, January 17, 2018, 7:30pm Paul Hall Part of the Daniel Saidenberg Faculty Recital Series GIOACHINO From The Barber of Seville (1816) ROSSINI (arr. François-René Gebauer/Frank Morelli) (1792–1868) All’idea di quell metallo Numero quindici a mano manca Largo al factotum Frank Morelli and Jacob Wellman, Bassoons JOHANNES Sonata for Cello, No. 1 in E Minor, Op. 38 (1862–65) BRAHMS Allegro non troppo (1833–97) Allegro quasi menuetto-Trio Allegro Frank Morelli, Bassoon Jonathan Feldman, Piano Intermission Program continues Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C.
    [Show full text]
  • James M. Baker, David W. Beach, and Jonathan Ber- Nard, Eds. Music
    James M. Baker, David W. Beach, and Jonathan Ber­ nard, eds. Music Theory in Concept and Practice. Uni­ versity of Rochester Press, 1997.529 pp. Reviewed by Marilyn Nonken Music Theory In Concept and Practice is a seventieth-birthday tribute to Allen Forte, a theorist of unprecedented influence. Its editors claim that "in the modern rise of music theory . no single individual has been more central" (6). If this is an exaggeration, it is only a slight one. In addition to authoring landmark works (including Tonal Theory in Concept and Practice and The Structure of Atonal Music), Forte has also been an active and motivating presence in the field: as the editor who ushered the Jour­ nal of Music Theory through its transition from a fledgling publication to one of prominence; as a catalyst behind the foundation of the Society for Music Theory; and as a guiding force whose efforts resulted in the estab­ lishment of the doctoral program in music theory at Yale, the first of its kind at a major American institution. As depicted by Jonathan Bernard in the first of nineteen essays in this collection, Forte stands as heir to a tradition of musical inquiry that extends to the earliest decades of the century. With contributions by scholars on a wide variety of topics, this volume cannily evidences the transforming effect of one scholar's work on the discipline. Music Theory in Concept and Practice is divided into two broad categories ("Historical and Theoretical Essays" and "Analytical Studies"), then fur­ ther divided into four subsections. The essays are categorized according to their musicological orientfltion ("Historical Perspectives" and "Theoretical Perspectives"), and the analyses to the repertoire they treat ("The Tonal Repertoire" and "Twentieth-Century Music").
    [Show full text]
  • Expanding Horizons: the International Avant-Garde, 1962-75
    452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
    [Show full text]
  • Pitch-Class Set Theory: an Overture
    Chapter One Pitch-Class Set Theory: An Overture A Tale of Two Continents In the late afternoon of October 24, 1999, about one hundred people were gathered in a large rehearsal room of the Rotterdam Conservatory. They were listening to a discussion between representatives of nine European countries about the teaching of music theory and music analysis. It was the third day of the Fourth European Music Analysis Conference.1 Most participants in the conference (which included a number of music theorists from Canada and the United States) had been looking forward to this session: meetings about the various analytical traditions and pedagogical practices in Europe were rare, and a broad survey of teaching methods was lacking. Most felt a need for information from beyond their country’s borders. This need was reinforced by the mobility of music students and the resulting hodgepodge of nationalities at renowned conservatories and music schools. Moreover, the European systems of higher education were on the threshold of a harmoni- zation operation. Earlier that year, on June 19, the governments of 29 coun- tries had ratifi ed the “Bologna Declaration,” a document that envisaged a unifi ed European area for higher education. Its enforcement added to the urgency of the meeting in Rotterdam. However, this meeting would not be remembered for the unusually broad rep- resentation of nationalities or for its political timeliness. What would be remem- bered was an incident which took place shortly after the audience had been invited to join in the discussion. Somebody had raised a question about classroom analysis of twentieth-century music, a recurring topic among music theory teach- ers: whereas the music of the eighteenth and nineteenth centuries lent itself to general analytical methodologies, the extremely diverse repertoire of the twen- tieth century seemed only to invite ad hoc approaches; how could the analysis of 1.
    [Show full text]
  • N E W Y O R K F L U T E F a Ir 2020
    The New York Flute Club Nancy Toff, President Deirdre McArdle, Program chair 2020 The New York Flute Fair 2020 2020 VISION Looking back and moving forward with guest artists Seth Morris, Chelsea Knox, Stephanie Mortimore, Maron Khoury, and Koren McCaffrey, flutists of the Metropolitan Opera Orchestra Saturday, February 29, 2020 W83 Ministry Center 150 West 83rd Street, NYC (between Amsterdam and Columbus Avenues) 8:30 am-7:00 pm NEW YORK FLUTE FAIR BOARD OF DIRECTORS NANCY TOFF, President PATRICIA ZUBER, First Vice President KAORU HINATA, Second Vice President DEIRDRE MCARDLE, Recording Secretary KATHERINE SAENGER, Membership Secretary RIE SCHMIDT, Treasurer AMY APPLETON JEFF MITCHELL JENNY CLINE LINDA RAPPAPORT DIANE COUZENS JAYN ROSENFELD FRED MARCUSA NICOLE SCHROEDER JUDITH MENDENHALL MALCOLM SPECTOR ADVISORY BOARD JEANNE BAXTRESSER ROBERT LANGEVIN STEFÁN RAGNAR HÖSKULDSSON MICHAEL PARLOFF SUE ANN KAHN RENÉE SIEBERT PAST PRESIDENTS Georges Barrère, 1920-1944 Eleanor Lawrence, 1979-1982 John Wummer, 1944-1947 John Solum, 1983-1986 Milton Wittgenstein, 1947-1952 Eleanor Lawrence, 1986-1989 Mildred Hunt Wummer, 1952-1955 Sue Ann Kahn, 1989-1992 Frederick Wilkins, 1955-1957 Nancy Toff, 1992-1995 Harry H. Moskovitz, 1957-1960 Rie Schmidt, 1995-1998 Paige Brook, 1960-1963 Patricia Spencer, 1998-2001 Mildred Hunt Wummer, 1963-1964 Jan Vinci, 2001-2002 Maurice S. Rosen, 1964-1967 Jayn Rosenfeld, 2002-2005 Harry H. Moskovitz, 1967-1970 David Wechsler, 2005-2008 Paige Brook, 1970-1973 Nancy Toff, 2008-2011 Eleanor Lawrence, 1973-1976 John McMurtery,
    [Show full text]
  • Flamenco Sketches”
    Fyffe, Jamie Robert (2017) Kind of Blue and the Signifyin(g) Voice of Miles Davis. PhD thesis. http://theses.gla.ac.uk/8066/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Kind of Blue and the Signifyin(g) Voice of Miles Davis Jamie Robert Fyffe Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow October 2016 Abstract Kind of Blue remains one of the most influential and successful jazz albums ever recorded, yet we know surprisingly few details concerning how it was written and the creative roles played by its participants. Previous studies in the literature emphasise modal and blues content within the album, overlooking the creative principle that underpins Kind of Blue – repetition and variation. Davis composed his album by Signifyin(g), transforming and recombining musical items of interest adopted from recent recordings of the period. This thesis employs an interdisciplinary framework that combines note-based observations with intertextual theory.
    [Show full text]