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Tracing the Development of Extended Vocal Techniques in Twentieth-Century America
CRUMP, MELANIE AUSTIN. D.M.A. When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. (2008) Directed by Mr. David Holley, 93 pp. Although multiple books and articles expound upon the musical culture and progress of American classical, popular and folk music in the United States, there are no publications that investigate the development of extended vocal techniques (EVTs) throughout twentieth-century American music. Scholarly interest in the contemporary music scene of the United States abounds, but few sources provide information on the exploitation of the human voice for its unique sonic capabilities. This document seeks to establish links and connections between musical trends, major artistic movements, and the global politics that shaped Western art music, with those composers utilizing EVTs in the United States, for the purpose of generating a clearer musicological picture of EVTs as a practice of twentieth-century vocal music. As demonstrated in the connecting of musicological dots found in primary and secondary historical documents, composer and performer studies, and musical scores, the study explores the history of extended vocal techniques and the culture in which they flourished. WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro. -
Wuorinen Printable Program
The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Celebrating Charles Wuorinen at 80 featuring Ensemble SIGNAL Brad Lubman, conductor Tuesday, April 24, 2018 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Charles Wuorinen (b. 1938) iRidule Jacqueline Leclair, oboe soloist Spin 5 Olivia De Prato, violin soloist Intermission Megalith Eric Huebner, piano soloist PERSONNEL Ensemble Signal Brad Lubman, Music Director Paul Coleman, Sound Director Olivia De Prato, Violin Lauren Radnofsky, Cello Ken Thomson, Clarinet, Bass Clarinet Adrián Sandí, Clarinet, Bass Clarinet David Friend, Piano 1 Oliver Hagen, Piano 2 Karl Larson, Piano 3 Georgia Mills, Piano 4 Matt Evans, Vibraphone, Piano Carson Moody, Marimba 1 Bill Solomon, Marimba 2 Amy Garapic, Marimba 3 Brad Lubman, Marimba Sarah Brailey, Voice 1 Mellissa Hughes, Voice 2 Kirsten Sollek, Voice 4 Charles Wuorinen In 1970 Wuorinen became the youngest composer at that time to win the Pulitzer Prize (for the electronic work Time's Encomium). The Pulitzer and the MacArthur Fellowship are just two among many awards, fellowships and other honors to have come his way. Wuorinen has written more than 260 compositions to date. His most recent works include Sudden Changes for Michael Tilson Thomas and the San Francisco Symphony, Exsultet (Praeconium Paschale) for Francisco Núñez and the Young People's Chorus of New York, a String Trio for the Goeyvaerts String Trio, and a duo for viola and percussion, Xenolith, for Lois Martin and Michael Truesdell. The premiere of of his opera on Annie Proulx's Brokeback Mountain was was a major cultural event worldwide. -
ANTON WEBERN Vol
WEBERN Vocal and Chamber Works Songs • String Quartet • Schoenberg/Webern Op. 9 • Cantata No. 1 Tony Arnold • Claire Booth • Jacob Greenberg • Orion Weiss Sooyun Kim • Charles Neidich • Leila Josefowicz • Simon Joly Chorale Fred Sherry String Quartet • Philharmonia Orchestra Robert Craft THE ROBERT CRAFT COLLECTION Four Songs for Voice and Piano, Op. 12 (1915-17) 5:28 THE MUSIC OF ANTON WEBERN Vol. 3 & I. Der Tag ist vergangen (Day is gone) Text: Folk-song 1:32 Recordings supervised by Robert Craft * II. Die Geheimnisvolle Flöte (The Mysterious Flute) Text by Li T’ai-Po (c.700-762), from Hans Bethge’s ‘Chinese Flute’ 1:32 Five Songs from Der siebente Ring (The Seventh Ring), Op. 3 (1908-09) 5:35 ( III. Schien mir’s, als ich sah die Sonne (It seemed to me, as I saw the sun) Texts by Stefan George (1868-1933) Text from ‘Ghost Sonata’ by August Strindberg (1849-1912) 1:32 1 I. Dies ist ein Lied für dich allein (This is a song for you alone) 1:19 ) IV. Gleich und gleich (Like and Like) 2 II. Im Windesweben (In the weaving of the wind) 0:36 Text by Johann Wolfgang von Goethe (1749-1832) 0:52 3 III. An Bachesranft (On the brook’s edge) 1:00 Tony Arnold, Soprano • Jacob Greenberg, Piano 4 IV. Im Morgentaun (In the morning dew) 1:04 5 V. Kahl reckt der Baum (Bare stretches the tree) 1:36 Recorded at the American Academy of Arts and Letters, New York, on 28th September, 2011 Producer: Philip Traugott • Engineer: Tim Martyn • Editor: Jacob Greenberg • Assistant engineer: Brian Losch Tony Arnold, Soprano • Jacob Greenberg, Piano Recorded at the American Academy of Arts and Letters, New York, on 28th September, 2011 Three Songs from Viae inviae, Op. -
Emily Dickinson in Song
1 Emily Dickinson in Song A Discography, 1925-2019 Compiled by Georgiana Strickland 2 Copyright © 2019 by Georgiana W. Strickland All rights reserved 3 What would the Dower be Had I the Art to stun myself With Bolts of Melody! Emily Dickinson 4 Contents Preface 5 Introduction 7 I. Recordings with Vocal Works by a Single Composer 9 Alphabetical by composer II. Compilations: Recordings with Vocal Works by Multiple Composers 54 Alphabetical by record title III. Recordings with Non-Vocal Works 72 Alphabetical by composer or record title IV: Recordings with Works in Miscellaneous Formats 76 Alphabetical by composer or record title Sources 81 Acknowledgments 83 5 Preface The American poet Emily Dickinson (1830-1886), unknown in her lifetime, is today revered by poets and poetry lovers throughout the world, and her revolutionary poetic style has been widely influential. Yet her equally wide influence on the world of music was largely unrecognized until 1992, when the late Carlton Lowenberg published his groundbreaking study Musicians Wrestle Everywhere: Emily Dickinson and Music (Fallen Leaf Press), an examination of Dickinson's involvement in the music of her time, and a "detailed inventory" of 1,615 musical settings of her poems. The result is a survey of an important segment of twentieth-century music. In the years since Lowenberg's inventory appeared, the number of Dickinson settings is estimated to have more than doubled, and a large number of them have been performed and recorded. One critic has described Dickinson as "the darling of modern composers."1 The intriguing question of why this should be so has been answered in many ways by composers and others. -
American Mavericks Festival
VISIONARIES PIONEERS ICONOCLASTS A LOOK AT 20TH-CENTURY MUSIC IN THE UNITED STATES, FROM THE SAN FRANCISCO SYMPHONY EDITED BY SUSAN KEY AND LARRY ROTHE PUBLISHED IN COOPERATION WITH THE UNIVERSITY OF CaLIFORNIA PRESS The San Francisco Symphony TO PHYLLIS WAttIs— San Francisco, California FRIEND OF THE SAN FRANCISCO SYMPHONY, CHAMPION OF NEW AND UNUSUAL MUSIC, All inquiries about the sales and distribution of this volume should be directed to the University of California Press. BENEFACTOR OF THE AMERICAN MAVERICKS FESTIVAL, FREE SPIRIT, CATALYST, AND MUSE. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England ©2001 by The San Francisco Symphony ISBN 0-520-23304-2 (cloth) Cataloging-in-Publication Data is on file with the Library of Congress. The paper used in this publication meets the minimum requirements of ANSI / NISO Z390.48-1992 (R 1997) (Permanence of Paper). Printed in Canada Designed by i4 Design, Sausalito, California Back cover: Detail from score of Earle Brown’s Cross Sections and Color Fields. 10 09 08 07 06 05 04 03 02 01 10 9 8 7 6 5 4 3 2 1 v Contents vii From the Editors When Michael Tilson Thomas announced that he intended to devote three weeks in June 2000 to a survey of some of the 20th century’s most radical American composers, those of us associated with the San Francisco Symphony held our breaths. The Symphony has never apologized for its commitment to new music, but American orchestras have to deal with economic realities. For the San Francisco Symphony, as for its siblings across the country, the guiding principle of programming has always been balance. -
Traficante Final Dissertation
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE AN ANALYSIS OF JOHN ADAMS’ GRAND PIANOLA MUSIC A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By DEBRA LEE TRAFICANTE Norman, Oklahoma 2010 AN ANALYSIS OF JOHN ADAMS’ GRAND PIANOLA MUSIC A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ________________________________ Dr. William K. Wakefield, Chair ________________________________ Dr. Roland Barrett ________________________________ Dr. Paula Conlon ________________________________ Dr. Michael Raiber ________________________________ Dr. Teresa DeBacker © Copyright by DEBRA LEE TRAFICANTE 2010 All Rights Reserved. ACKNOWLEDGEMENTS My document committee consists of Dr. William K. Wakefield, Dr. Roland Barrett, Dr. Michael Raiber, Dr. Paula Conlon, and Dr. Teresa DeBacker, and I thank each of them for their careful reading and great assistance in the execution of this document. I feel very fortunate to have had the members who served on this committee, and hold them each in high regard. Special thanks are especially due to Dr. Wakefield, chair of my committee; he tirelessly helped me clarify ideas, find new ways to experience the piece, and express my thoughts more cogently. Without his unremitting support, this document would not exist. To my parents, Ron and Mary Ann Manna, I owe any success I have ever achieved to you both. The never-ending support you have afforded me is why I have accomplished what I have. I love you both and thank you. To my in-laws, Harry and Cheryl Craig, I sincerely appreciate the endless love and support you have given to me for the last fifteen years. -
Boston Symphony Orchestra Concert Programs, Season 104, 1984-1985
Boston Symphony Orchestra SEIJI OZAWA, Music Director >* BOSTON \ SYMPHONY f | \ ORCHESTRA/ . \ SEIJI OZAWA />> 104th Season j 1984-85 ,„>%M&- SHARE THE SENSE myOF *$ REMY MARTIN COGNAC EXCLUSIVE i Imported By Remy M Seiji Ozawa, Music Director One Hundred and Fourth Season, 1984-85 Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Chairman Nelson J. Darling, Jr., President J. P. Barger, I ice-President George H. Kidder, Vice-President Mrs. George L. Sargent, I ice-President William J. Poorvu, Treasurer Vernon R. Alden Mrs. Michael H. Davis E. James Morton David B. Arnold, Jr. Archie C. Epps David G. Mugar Mrs. John M. Bradley Mrs. John H. Fitzpatrick Thomas D. Perry, Jr. Mrs. Norman L. Cahners Mrs. John L. Grandin Irving W Rabb George H.A. Clowes, Jr. Harvey Chet Krentzman Mrs. George R. Rowland William M. Crozier, Jr. Roderick M. MacDougall Richard A. Smith Mrs. Lewis S. Dabney John Hoyt Stookey Trustees Emeriti Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Mrs. James H. Perkins Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike Administration of the Boston Symphony Orchestra, Inc. Thomas W. Morris, General Manager William Bernell, Artistic Administrator Daniel R. Gustin, Assistant Manager Anne H. Parsons, Orchestra Manager Caroline Smedvig, Director ofPromotion Josiah Stevenson, Director ofDevelopment Theodore A. Vlahos, Director ofBusiness Affairs Charles S. Fox, Director ofAnnual Giving Anita R. Kurland, Administrator of Youth Activities Arlene Germain, Financial Analyst Richard Ortner, Administrator of Charles Gilroy, ChiefAccountant Tanglewood Music Center Vera Gold, Assistant Director ofPromotion Robert A. -
Critical Performances Jonathan A. Neufeld
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by PhilPapers Critical Performances Jonathan A. Neufeld (Penultimate version of an article published in teorema, Vol. XXXI/3, 2012, ISSN: 0210-1602, [BIBLID 0210-1602 (2012) 31:3]) Abstract Philosophers of music commonly distinguish performative from critical interpretations. I would like to suggest that the distinction between critical and performative interpretations is well captured by an analogy to legal critics and judges. This parallel draws attention to several features of performative interpretation that are typically overlooked, and deemphasizes epistemic problems with performative interpretations that I believe are typically blown out of proportion and ultimately fail to capture interesting features of performative interpretation. There is an important distinction to be made between critical and performative interpretation, but its source lies in a difference between the authority of critical and performative interpretations. Keywords: Music, Interpretation, Performance, Performative Interpretation, Critical Interpretation, Levinson, Habermas, Authority. I. Philosophers of music commonly distinguish performative from critical interpretations. I would like to suggest that the distinction between critical and performative interpretations is well captured by an analogy to legal critics and judges. This parallel draws attention to several features of performative interpretation that are typically overlooked, and deemphasizes epistemic problems with performative interpretations that I believe are typically blown out of proportion and ultimately fail to capture interesting features of performative interpretation. 1 Critical Performances 2 A central problem with the debate over performative interpretation is a focus on an overly narrow set of properties that are relevant to identifying them. -
Peter Jarvis, Director
The William Paterson University Department of Music presents New Music Series Peter Jarvis, director with WPU New Music Ensemble and the WPU Percussion Ensemble Monday, December 1, 2014, 7:00 PM Shea Center for the Performing Arts Program Workers Union (1975) Louis Andriessen For any loud sounding group of instruments Evan Chertok, Sean Dello Monaco, Giancarlo Cordasco, Anton Corozza, Kenneth Cubillas, David Endean, John Ferrari, Patrick Lapinski, Payton MacDonald, Richard Martinez, Anthony Petruccello, Dakota Singerline Peter Jarvis ‐ Conductor Vibraphone Solo VII (2014)* David Saperstein Peter Jarvis Ten Mantra Tykes (2014)* Payton MacDonald For Percussion Quartet Jeff Depetris, Sean Dello Monaco, Matt Kohere, Kristyn Scrimo Payton MacDonald ‐ Conductor Première communion de la Vierge (1944) Oliver Messiaen from Vingt regards sur l'enfant‐Jésus For Solo Piano Carl Bolleia Blunt (2011) Quinn Collins For Percussion Trio Shane Adair, Evan Chertok, Dakota Singerline John Ferrari ‐ Conductor To The Earth (1985) Frederic Rzewski For Speaking Percussionist Homeric Hymn Peter Jarvis D‐Tayls4 (2013) David Rozenblatt For Mixed Ensemble Anton Corozza, Travis Salim, Patrick Lapinski, Richard Martinez Peter Jarvis ‐ Coach * ‐ World Premiere Program Notes Workers Union: Louis Andriessen Workers Union is a "symphonic movement for any loud sounding group of instruments." Pitches are not traditionally notated, but are spaced relative to a single horizontal line, which represents the center of the instrument's register. Much in the same aesthetic as other works of his same period, the composer requests that it "sound dissonant, chromatic and often aggressive." Andriessen states that "only in the case that every player plays with such an intention that his part is an essential one, the work will succeed." Workers Union is usually played with six or more people. -
National Endowment for the Arts Annual Report 1976
1976 Annual Report National Endowment National Council ior the Arts on the Arts National Endowment National Council 1976 on the Arts Annual Report tor the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended June 30, 1976, and the Transition Quarter ended September 30, 1976. Respectfully, Nancy Hanks Chairman The President The White House Washington, D.C. April 1976 Contents Chairman’s Statement 4 Organization 6 National Council on the Arts 7 Architecture ÷ Environmental Arts 8 Dance 20 Education 30 Expansion Arts 36 Federal-State Partnership 50 Literature 58 Museums 66 Music 82 Public Media 100 Special Projects 108 Theatre 118 Visual Arts 126 The Treasury Fund 140 Contributors to the Treasury Fund, Fiscal Year 1976 141 History of Authorizations and Appropriations 148 Financial Summary, Fiscal Year 1976 150 Staff of the National Endowment for the Arts 151 Chairman’s Statement In recognition of the great value to the public of the cans felt the arts to be essential to the quality of life for country’s arts, artists, and cultural institutions, the National participation, many cultural institutions face mounting themselves and their children. Similar attitudes have been gaps between costs and earnings which must be filled by Endowment for the Arts was established in 1965 to help expressed in resolutions of the National Association of to strengthen the arts professionally and to ensure that additional contributions. -
T H E E X C E P T I O N a L M U S I C Charl
uch has been written over the past year about But Wuorinen’s compositional approach couldn’t be more the so-called “Generation of ’38,” the large, distant from the polystylism that characterizes many of his con- eclectic group of successful American com- temporaries. He has long been identified with Milton Babbitt, posers—including William Bolcom, Paul George Perle, and the late Donald Martino—the principal Chihara, John Corigliano, Alvin Curran, John architects of post-World War II American serialism. And while MHarbison, Frederic Rzewski, and Joan serialism is a term Wuorinen no longer embraces, strict orga- Tower—who happen to have been born in 1938. This year, of nizational procedures, chromaticism, and rhythmic complexity course, they all are turning 70, prompting concert celebrations remain hallmarks of his vast compositional output. all over the country. But one important member of this illus- Continuing to create this kind of music—especially in the face trious group—Charles Wuorinen, whose birthday was June 9— of today’s constant polemics against it—can be seen as an act of doesn’t quite align with the rest, either in aesthetic inclination defiance. Richard Taruskin, in his massive six-volume Oxford or career trajectory. History of Western Music dismisses the serialists as “just an enor- A wunderkind who began composing at the age of five, mous flowering of Augenmusik.” Alex Ross, in his bestselling Wuorinen received more BMI Student Composer Awards than The Rest Is Noise, grants that Wuorinen “has a flair for instru- any other composer (four, between 1959 and 1963). He was mental drama” but contends that “the average listener could be awarded the Pulitzer Prize at the age of 32 (younger than anyone pardoned” for thinking that composers like Wuorinen, who have before or since); and later that same year, 1970, he was signed “eschewed audience-friendly gestures,” all sound the same. -
Do Not Speak Until Spoken to (Or Even Then Sometimes)
DO NOT SPEAK UNTIL SPOKEN TO (OR EVEN THEN SOMETIMES) The seeds are with us and give us shapes and forms at no point does everything start new We would have nothing to eat and neither would they have us to eat The seeds begin what is carried on Our seeds are still with us and talk to us and pace us if we listen The voice they use is very like our own but is not us or ours you can never tell even by sticking around if they wi 11 s}Jeak that they have spoken you can never tell don't expect me to ,m, 2 KRAB PROGRAM GUIDE Nm1BER TWO HUNDRED AND TWENTY TIlREE Published by the ~ack Straw Memorial Foundation, a non-profit, tax- exempt, pub lic organi zation solely desIgned to operate non-commercial, listener-supported radio stations, of which KRAB is one, and KBOO (Portland) the other. This program guide, containing program listings for the month of February , 1972, is not sold, it is given, free of charge, t o the s ubscribers and supporters of KRAB. We empha size the fact that those w~o subscribe aren't paying for the program guide, but paying for KRAB. We are not publIshers, after all, but broadcasters , and we need the continued financial (and spiritual) support of the community if we are going to continue on the air. SUbSCliption rates to KRAB are essentially whatever you want to give, be it five cents or five million'big ones. We do set subscription rates, however, mostly because people seem to want them.