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Elegies for Cello and Piano by Bridge, Britten and Delius: a Study of Traditions and Influences
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2012 Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences Sara Gardner Birnbaum University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Birnbaum, Sara Gardner, "Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences" (2012). Theses and Dissertations--Music. 7. https://uknowledge.uky.edu/music_etds/7 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. -
University Musical Society Oslo Philharmonic
UNIVERSITY MUSICAL SOCIETY OSLO PHILHARMONIC ORCHESTRA MARISS JANSONS Music Director and Conductor FRANK PETER ZIMMERMANN, Violinist Sunday Evening, November 17, 1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan PROGRAM Concerto in E minor for Violin and Orchestra, Op. 64 . Mendelssohn Allegro molto appassionata Andante Allegretto non troppo, allegro molto vivace Frank Peter Zimmermann, Violinist INTERMISSION Symphony No. 7 in C major, Op. 60 ("Leningrad") ..... Shostakovich Allegretto Moderate Adagio, moderate risoluto Allegro non troppo CCC Norsk Hydro is proud to be the exclusive worldwide sponsor IfiBUt of the Oslo Philharmonic Orchestra for the period 1990-93. The Oslo Philharmonic and Frank Peter Zimmermann are represented by Columbia Artists Management Inc., New York City. The Philharmonic records for EMl/Angel, Chandos, and Polygram. The box office in the outer lobby is open during intermission for tickets to upcoming Musical Society concerts. Twelfth Concert of the 113th Season 113th Annual Choral Union Series Program Notes Violin Concerto in E minor, Op. 64 root tone G on its lowest note, the flute and FELIX MENDELSSOHN (1809-1847) clarinets in pairs are entrusted with the gentle melody. On the opening G string, the solo uring his short life of 38 years, violin becomes the fundament of this delicate Mendelssohn dominated the passage. The two themes are worked out until musical world of Germany and their development reaches the cadenza, exercised the same influence in which Mendelssohn wrote out in full. The England for more than a gener cadenza, in turn, serves as a transition to the ationD after his death. The reason for this may reprise. -
The Encyclopedia of Greater Philadelphia Civic Partnership and Planning Workshop April 16-17, 2009, at the Historical Society of Pennsylvania Summary of Sessions
The Encyclopedia of Greater Philadelphia Civic Partnership and Planning Workshop April 16-17, 2009, at the Historical Society of Pennsylvania Summary of Sessions DAY 1 Morning Panel: Capitalizing on the Region’s Historical Assets The session began with an introduction from Howard Gillette, who spoke about the general goals of the Encyclopedia project and the role of civic investment and engagement within it. He emphasized the importance of collaboration across disciplines and state lines and the Encyclopedia’s potential to build on existing assets while also generating new initiatives and knowledge. Panel chair Steven Conn then introduced the panel and posed the question, “What are we doing here?” In response to his question, Conn spoke of the parallel flourishing of new scholarship on Philadelphia over the past twenty years and a civic and cultural renaissance that this project hopes to connect further. Conn also described the past’s ability to reflect on the present and inform the future and concluded with the hope that the Encyclopedia will be a resource that resonates with people in the present and shapes debates about the future. The first speaker was Michael Coard from the Avenging the Ancestors Coalition, who spoke about the President’s House project. Coard described the uniqueness of the President’s House site and Liberty Bell Center as a space where visitors must cross the “hell of slavery” into the “heaven of liberty” and addressed the importance of recognizing both sides of that story. To this point, Coard identified truth as the prime historical need and spoke of the power of projects in civic engagement and investment like the President’s House to challenge one-sided history and make the experiences of African Americans part of the larger narrative. -
Academy of Music; Academy of Music_____ and Or Common Academy of Music______2
NPS Form 10-900 (3-82) 0MB No. 1024-0018 Expires 10-31-87 United States Department of the Interior National Park Service For NPS use only National Register of Historic Places received Inventory Nomination Form date entered See instructions in How to Complete National Register Forms Type all entries complete applicable sections_________________ 1. Name___________________ historic______American Academy of Music; Academy of Music_____ and or common Academy of Music_______________________ 2. Location_________________ street & number 232-46 South Broad Street at SW., corner Locust Street not for publication Philadelphia city, town vicinity of P ennsylvania 42 county Philadelphia state code CO 3. Classification Category Ownership Status Present Use district public X occupied agriculture museum _ K- building(s) X private unoccupied commercial park structure both work in progress educational private residence site Public Acquisition, Accessible X entertainment religious object in process X yes: restricted government scientific being considered - yes: unrestricted __ industrial transportation .... no military __ other: 4. Owner of Property name Philadelphia Orchestra Association street & number 232-46 South Broad Street city, town Philadelphia vicinity of state Pennslyvania 5. Location of Legal Description courthouse, registry of deeds, etc. Philadelphia City Hall street & number Broad and Market Streets city, town Philadelphia state Pennsylvania 6. Representation in Existing Surveys title Historic American Buildings Survey has this property been determined eligible? yes no date 1957, 1963, 1965, 1967 JL federal state county local depository for survey records W ashing ton, D C city, town state 7. Description Condition Check one Check one excellent deteriorated unaltered ^ original site good ruins X altered moved date fair unexposed Interior Describe the present and original (if known) physical appearance This free standing brick Renaissance Revival Style building exhibits a free use of classical forms. -
NUI MAYNOOTH Ûllscôst La Ttéiîéann Mâ Üuad Charles Villiers Stanford’S Preludes for Piano Op.163 and Op.179: a Musicological Retrospective
NUI MAYNOOTH Ûllscôst la ttÉiîéann Mâ Üuad Charles Villiers Stanford’s Preludes for Piano op.163 and op.179: A Musicological Retrospective (3 Volumes) Volume 1 Adèle Commins Thesis Submitted to the National University of Ireland, Maynooth for the degree of Doctor of Philosophy Department of Music National University of Ireland, Maynooth Maynooth Co. Kildare 2012 Head of Department: Professor Fiona M. Palmer Supervisors: Dr Lorraine Byrne Bodley & Dr Patrick F. Devine Acknowledgements I would like to express my appreciation to a number of people who have helped me throughout my doctoral studies. Firstly, I would like to express my gratitude and appreciation to my supervisors and mentors, Dr Lorraine Byrne Bodley and Dr Patrick Devine, for their guidance, insight, advice, criticism and commitment over the course of my doctoral studies. They enabled me to develop my ideas and bring the project to completion. I am grateful to Professor Fiona Palmer and to Professor Gerard Gillen who encouraged and supported my studies during both my undergraduate and postgraduate studies in the Music Department at NUI Maynooth. It was Professor Gillen who introduced me to Stanford and his music, and for this, I am very grateful. I am grateful to the staff in many libraries and archives for assisting me with my many queries and furnishing me with research materials. In particular, the Stanford Collection at the Robinson Library, Newcastle University has been an invaluable resource during this research project and I would like to thank Melanie Wood, Elaine Archbold and Alan Callender and all the staff at the Robinson Library, for all of their help and for granting me access to the vast Stanford collection. -
Records of the Immigration and Naturalization Service, 1891-1957, Record Group 85 New Orleans, Louisiana Crew Lists of Vessels Arriving at New Orleans, LA, 1910-1945
Records of the Immigration and Naturalization Service, 1891-1957, Record Group 85 New Orleans, Louisiana Crew Lists of Vessels Arriving at New Orleans, LA, 1910-1945. T939. 311 rolls. (~A complete list of rolls has been added.) Roll Volumes Dates 1 1-3 January-June, 1910 2 4-5 July-October, 1910 3 6-7 November, 1910-February, 1911 4 8-9 March-June, 1911 5 10-11 July-October, 1911 6 12-13 November, 1911-February, 1912 7 14-15 March-June, 1912 8 16-17 July-October, 1912 9 18-19 November, 1912-February, 1913 10 20-21 March-June, 1913 11 22-23 July-October, 1913 12 24-25 November, 1913-February, 1914 13 26 March-April, 1914 14 27 May-June, 1914 15 28-29 July-October, 1914 16 30-31 November, 1914-February, 1915 17 32 March-April, 1915 18 33 May-June, 1915 19 34-35 July-October, 1915 20 36-37 November, 1915-February, 1916 21 38-39 March-June, 1916 22 40-41 July-October, 1916 23 42-43 November, 1916-February, 1917 24 44 March-April, 1917 25 45 May-June, 1917 26 46 July-August, 1917 27 47 September-October, 1917 28 48 November-December, 1917 29 49-50 Jan. 1-Mar. 15, 1918 30 51-53 Mar. 16-Apr. 30, 1918 31 56-59 June 1-Aug. 15, 1918 32 60-64 Aug. 16-0ct. 31, 1918 33 65-69 Nov. 1', 1918-Jan. 15, 1919 34 70-73 Jan. 16-Mar. 31, 1919 35 74-77 April-May, 1919 36 78-79 June-July, 1919 37 80-81 August-September, 1919 38 82-83 October-November, 1919 39 84-85 December, 1919-January, 1920 40 86-87 February-March, 1920 41 88-89 April-May, 1920 42 90 June, 1920 43 91 July, 1920 44 92 August, 1920 45 93 September, 1920 46 94 October, 1920 47 95-96 November, 1920 48 97-98 December, 1920 49 99-100 Jan. -
My Musical Lineage Since the 1600S
Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent -
Myths, Legends, Fairy Tales and Folk Tales in Music ______
______________________________________________________________________________________________________ Sounds of Enchantment: Myths, Legends, Fairy Tales and Folk Tales in Music ______________________________________________________________________________________________________ Gioacchino ROSSINI Overture from William Tell Felix MENDELSSOHN Scherzo from A Midsummer Night’s Dream Sergei PROKOFIEV Waltz Coda and Midnight from Cinderella, Op. 87 David CROWE How Birds Came Into the World John WILLIAMS Raiders March from Raiders of the Lost Ark Piotr Ilyich TCHAIKOVSKY Scene from Swan Lake Modest MUSSORGSKY / arr. Ravel Baba Yaga and The Great Gate of Kiev from Pictures at an Exhibition HOW TO USE THIS STUDY GUIDE This guide is designed as a curriculum enhancement resource primarily for music teachers, but is also available for use by classroom teachers, parents, and students. The main intent is to aid instructors in their own lesson preparation, so most of the language and information is geared towards the adult, and not the student. It is not expected that all the information given will be used or that all activities are applicable to all settings. Teachers and/or parents can choose the elements that best meet the specific needs of their individual situations. Our hope is that the information will be useful, spark ideas, and make connections. TABLE OF CONTENTS Sounds of Enchantment Overview – Page 4 Program Notes – Page 7 ROSSINI | Overture from William Tell Page 8 MENDELSSOHN | Scherzo from A Midsummer Night’s Dream Page 10 PROKOFIEV | Waltz Coda and Midnight from Cinderella, Op. 87 Page 13 CROWE | How Birds Came Into the World Page 17 WILLIAMS | Raiders March from Raiders of the Lost Ark Page 20 TCHAIKOVSKY | Scene from Swan Lake Page 22 MUSSORGSKY | Baba Yaga and The Great Gate of Kiev from Pictures at an Exhibition Page 24 Activities — Page 27 Student Section— Page 39 CREDITS This guide was originally created for the 2008-2009 Charlotte Symphony Education Concerts by Susan Miville, Chris Stonnell, Anne Stewart, and Jane Orrell. -
Online Appendix (4.86
ONLINE APPENDIX EFFECTS OF COPYRIGHTS ON SCIENCE. EVIDENCE FROM THE WWII BOOK REPUBLICATION PROGRAM BARBARA BIASI, YALE AND NBER PETRA MOSER, NYU AND NBER 11111trdtr 0 APPENDIX A – ADDITIONAL TABLES AND FIGURES TABLE A1 – SUMMARY STATISTICS, BRP BOOKS N Mean St. Dev. Median Min 25 pctile 75 pctile Max All BRP books Original p 271 42.79 179.57 11.15 2.00 6.60 19.15 2000.00 BRP p 283 19.41 41.77 7.50 2.00 3.20 12.50 400.00 Δp 271 24.97 21.33 21.87 -38.89 7.89 40.00 90.00 Chemistry Original p 216 51.18 200.34 11.70 2.00 4.50 22.95 2000.00 BRP p 228 22.43 46.00 8.50 2.00 5.00 15.78 400.00 Δp 216 24.34 21.39 21.76 -38.89 7.52 39.55 90.00 Mathematics Original p 55 9.84 5.77 8.00 3.40 6.00 11.75 32.65 BRP p 55 6.88 4.32 5.75 2.50 3.75 8.75 25.60 Δp 55 27.44 21.11 23.47 0.00 9.72 66.09 74.14 Notes: Means, standard deviations, and median prices for 283 books with German-owned US copyrights that were licensed to US publishers under the 1942 BRP. The variable Δp measures the percentage decline in price, calculated as the difference between the original price and the BRP price, divided by the original price. Price data collected from records of the Alien Property Custodian (1942). -
Female Composer Segment Catalogue
FEMALE CLASSICAL COMPOSERS from past to present ʻFreed from the shackles and tatters of the old tradition and prejudice, American and European women in music are now universally hailed as important factors in the concert and teaching fields and as … fast developing assets in the creative spheres of the profession.’ This affirmation was made in 1935 by Frédérique Petrides, the Belgian-born female violinist, conductor, teacher and publisher who was a pioneering advocate for women in music. Some 80 years on, it’s gratifying to note how her words have been rewarded with substance in this catalogue of music by women composers. Petrides was able to look back on the foundations laid by those who were well-connected by family name, such as Clara Schumann and Fanny Mendelssohn-Hensel, and survey the crop of composers active in her own time, including Louise Talma and Amy Beach in America, Rebecca Clarke and Liza Lehmann in England, Nadia Boulanger in France and Lou Koster in Luxembourg. She could hardly have foreseen, however, the creative explosion in the latter half of the 20th century generated by a whole new raft of female composers – a happy development that continues today. We hope you will enjoy exploring this catalogue that has not only historical depth but a truly international voice, as exemplified in the works of the significant number of 21st-century composers: be it the highly colourful and accessible American chamber music of Jennifer Higdon, the Asian hues of Vivian Fung’s imaginative scores, the ancient-and-modern syntheses of Sofia Gubaidulina, or the hallmark symphonic sounds of the Russian-born Alla Pavlova. -
The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions. -
Droughts of 1930-34
UNITED STATES DEPARTMENT OF THE INTERIOR Harold L. Ickes, Secretary GEOLOGICAL SURVEY W. C. Mendenhall, Director Water-Supply Paper 680 DROUGHTS OF 1930-34 BY JOHN C. UNITED STATES GOVERNMENT PRINTING OFFICE WASHINGTON : 1936 i'For sale by the Superintendent of Documents, Washington, D. C. Price 20 cents CONTENTS Page Introduction ________ _________-_--_____-_-__---___-__________ 1 Droughts of 1930 and 1931_____._______________________ 5 Causes_____________________________________________________ 6 Precipitation. ____________________________________________ 6 Temperature ____________-_----_--_-_---___-_-_-_-_---_-_- 11 Wind.._.. _ 11 Effect on ground and surface water____________________________ 11 General effect___________________________________________ 11 Ground water___________________________ _ _____________ _ 22 Surface water___________________________________________ 26 Damage___ _-___---_-_------------__---------___-----_----_ 32 Vegetation.____________________________________________ 32 Domestic and industrial water supplies_____________________ 36 Health____-_--___________--_-_---_-----_-----_-_-_--_.__- 37 Power.______________________________________________ 38 Navigation._-_-----_-_____-_-_-_-_--__--_------_____--___ 39 Recreation and wild life--___--_---__--_-------------_--_-__ 41 Relief - ---- . 41 Drought of 1934__ 46 Causes_ _ ___________________________________________________ 46 Precipitation.____________________________________________ 47 Temperature._____________---_-___----_________-_________ 50 Wind_____________________________________________