DOCSLIB.ORG

Jacobs School of Music Administration

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

August 11, 2017 1 • INFORMATION TECHNOLOGY, Philip Ponella, Jacobs School of Music Director • INSTRUMENTAL ENSEMBLES, Thomas Administration Wieligman, Executive Administrator • LATIN AMERICAN MUSIC CENTER, Javier León, Administrative Officers Director • MUSIC IN GENERAL STUDIES, Constance Cook GWYN RICHARDS, Dean Glen, Director JEREMY ALLEN, Executive Associate Dean • OPERA THEATER LISSA MAY, Associate Dean, Instruction • Gwyn Richards, General Manager ERIC ISAACSON, Director, Graduate Studies • Kevin Murphy, Director of Coaching and Music JOEY TARTELL, Director, Undergraduate Studies Administration Departmental Chairpersons • Timothy Stebbins, Executive Director of Production • AUDIO ENGINEERING AND SOUND PRODUCTION, Konrad Strauss • PRE-COLLEGE AND SUMMER PROGRAMS, • BALLET, Jeremy Allen (Sarah Wroth, Associate Michele Stebbins, Administrative Assistant Chair) • WILLIAM AND GAYLE COOK MUSIC LIBRARY, • BAND, Stephen Pratt Philip Ponella, Director • BRASS, Peter Ellefson • CHAMBER AND COLLABORATIVE MUSIC, Anne Faculty Epperson • CHORAL CONDUCTING, Betsy Burleigh Audio Engineering and Sound • COMPOSITION, David Dzubay Production • EARLY MUSIC, Dana Marsh Professor • GUITAR, Ernesto Bitetti • Konrad Strauss • HARP, Elzbieta Szmyt Associate Professor • JAZZ STUDIES, Thomas Walsh • Mark Hood • MUSIC EDUCATION, Katherine Strand • MUSIC THEORY, Kyle Adams Assistant Professors • MUSICOLOGY, Kristina Muxfeldt • Michael Stucker • ORCHESTRAL CONDUCTING, Arthur Fagen • D. James Tagg • ORGAN, Janette Fishell Lecturer • PERCUSSION, John Tafoya • Jacob Belser • PIANO, Lissa May (David Cartledge, Associate Chair) Academic Specialist • STRINGS, Simin Ganatra • Fallon Stillman • VOICE, Mary Ann Hart Visiting Assistant Professor • WOODWINDS, William Ludwig • Kyle Knickerbocker Administrative Offices Ballet • ADMISSIONS AND FINANCIAL AID, Espen Jensen, Professors Director • Kyra Nichols, Violette Verdy and Kathy Ziliak • CENTER FOR ELECTRONIC AND COMPUTER Anderson Chair MUSIC, Jeffrey Hass, Director • Michael Vernon • CENTER FOR THE HISTORY OF MUSIC THEORY Associate Professor AND LITERATURE, Giuliano Di Bacco, Director • Carla Körbes • CHORAL ENSEMBLES, David Villanueva, Administrative Director Visiting Associate Professor • COMMUNICATIONS • Sarah Wroth • DEVELOPMENT, Melissa Dickson, Director Visiting Lecturers • ENTREPRENEURSHIP AND CAREER • Christian Claessens DEVELOPMENT, Alain Barker, Director • Sasha Janes • EXTERNAL AFFAIRS, Melissa Dickson, Executive Director Band/Wind Conducting • FACILITIES, Denver Wrightsman, Director Professors • FINANCE AND FISCAL PLANNING, Jill Piedmont, • Stephen W. Pratt Director • David Woodley • HISTORICAL PERFORMANCE INSTITUTE, Dana Marsh, Director Associate Professor • HUMAN RESOURCES, Joyce Leonard, Director • Eric Smedley 2 August 11, 2017 Assistant Professor Assistant Professors • Jason Nam • Chris Albanese Brass • Carolann Buff Horn Composition Professors Chancellor’s Professor • Jeff Nelsen • Claude Baker • Richard Seraphinoff Professors Professor of Practice • David Dzubay • Dale Clevenger • Don Freund • Jeffrey Hass (electronic and computer music) Trumpet • Eugene O'Brien Professors • P. Q. Phan • Edmund Cord • John Rommel Associate Professors • John Gibson (electronic and computer music) Associate Professor • Aaron Travers • Joey Tartell Visiting Professor Trombone and Euphonium • Larry Groupé (scoring for visual media) Professors • Peter Ellefson Early Music • Carl Lenthe Distinguished Professor • Denson Paul Pollard • Stanley Ritchie (Baroque violin) Tuba Professors Provost Professor • Nigel North (lute) • Daniel Perantoni • Richard Seraphinoff (natural horn) Chamber and Collaborative Music • Elisabeth Wright (harpsichord/fortepiano) Professors Associate Professors • Anne Epperson • Joanna Blendulf (Baroque cello and viola da gamba) • Simin Ganatra • Dana Marsh (performance practice and voice) Professor of Practice Assistant Professor • Kevin Murphy • Barbara Kallaur (Baroque flute) (part-time) Lecturers Senior Lecturer • Keith Collins (Baroque bassoon, recorder) (part- • Chih-Yi Chen time) Lecturers • Eric Hoeprich (early clarinet) (part-time) • Aram Arakelyan • Kris Kwapis (cornetto and Baroque trumpet) (part- • Sung-Mi Im time) • Charles Prestinari • Meg Owens (Baroque oboe) (part-time) • Linda Pearse (early trombone and sackbut) (part- Academic Specialist time) • Kimberly Carballo • Steven Rickards (voice) (part-time) Visiting Assistant Professors Guitar • Allan Armstrong (post-doctoral scholar) • Theresa Leung (post-doctoral scholar) Professor • Ernesto Bitetti • Kyung Eun Na (post-doctoral scholar) • Alexei Ulitin (post-doctoral scholar) Lecturer • Petar Jankovic Visiting Lecturer • Futaba Niekawa Visiting Lecturer Choral Conducting • Daniel Duarte Professor Harp • Gwyn Richards Professors • Florence Sitruk Associate Professors • Elzbieta Szmyt • Betsy Burleigh • Dominick DiOrio Jazz Studies • Walter Huff Professors • Luke Gillespie August 11, 2017 3 • Patrick Harbison • Phil Ford • Stephen Houghton • Ayana Smith • Thomas Walsh • Giovanni Zanovello Associate Professors Assistant Professor • Jeremy Allen • Giuliano Di Bacco • Walter Smith III Visiting Assistant Professor • Michael Spiro • Michael Bane (post-doctoral scholar) • Tierney Sutton • Brent Wallarab Orchestral Conducting Assistant Professor Professor • John Raymond • Thomas Wilkins, Henry A. Upper Chair in Orchestral Studies Professor of Practice • Arthur Fagen • Wayne Wallace Visiting Associate Professor Music Education • David Neely Professors • Brent Gault Organ • Patrice Madura Ward-Steinman Professors • Lissa Fleming May • Janette Fishell • Christopher Young Associate Professors • Brenda Brenner Assistant Professor • Frank Diaz • Vincent Carr • Peter Miksza Academic Specialist • Katherine Strand • Patrick Fischer Assistant Professor Percussion • Lauren Kapalka Richerme Professors Visiting Assistant Professor • Kevin Bobo • Joyce McCall (post-doctoral scholar) • Stephen Houghton • John Tafoya Music Theory Professors Associate Professor • Gretchen Horlacher • Michael Spiro • Marianne Kielian-Gilbert Piano • Andrew Mead Distinguished Professors Associate Professors • Menahem Pressler, Charles H. Webb Chair • Kyle Adams • André Watts, Jack I. and Dora B. Hamlin Chair • Julian Hook Professors • Eric Isaacson • Edward Auer • Roman Ivanovitch • Evelyne Brancart • Blair Johnston • Arnaldo Cohen • Frank Samarotto • Jean-Louis Haguenauer Visiting Assistant Professor • Norman Krieger • Caleb Mutch (post-doctoral scholar) • Karen Shaw Musicology Associate Professors Distinguished Professor • David Cartledge • J. Peter Burkholder • Emile Naoumoff Professors Assistant Professor • Halina Goldberg • Karen Taylor (part-time) • Michael Long Senior Lecturer • Daniel R. Melamed • Chih-Yi Chen • Kristina Muxfeldt • Massimo Ossi Strings Violin Associate Professors Distinguished Professor • Judah Cohen, Lou and Sybil Mervis Professor (joint • Stanley Ritchie with the Jewish Studies Program) 4 August 11, 2017 Professors Assistant Professor • Jorja Fleezanis, Dorothy Richard Starling Chair in • Katherine Jolly Violin • Alexander Kerr, Linda and Jack Gill Chair Professors of Practice • Wolfgang Brendel • Mauricio Fuks • Heidi Grant Murphy • Simin Ganatra • Grigory Kalinovsky Senior Lecturer • Mark Kaplan • Alice Hopper • Kevork Mardirossian • Mimi Zweig Woodwinds Flute Associate Professor Professor • Brenda Brenner • Kathryn Lukas Professor of Practice Associate Professor • Austin Hartman • Thomas Robertello Senior Lecturer Oboe • Joshua Bell (chamber music, part-time) Professor Viola • Linda Strommen Professors Associate Professor • Atar Arad • Roger Roe (part-time) • Edward Gazouleas • Stephen Wyrczynski Clarinet • Mimi Zweig Professors • James Campbell Visiting Professor of Practice • Eli Eban • Guy Ben-Ziony • Howard Klug Violoncello Bassoon Professors Professor • Eric Kim • William Ludwig • Peter Stumpf Associate Professor Associate Professor • Kathleen McLean • Emilio Colon Saxophone Professor of Practice Professors • Brandon Vamos • Otis Murphy Double Bass • Thomas Walsh Professors Other Areas of Study • Bruce Bransby • Kurt Muroki Entrepreneurship and Career Development Lecturer Voice • Alain Barker Distinguished Professor Instrumental Ensembles • Timothy Noble Academic Specialist Professors • Thomas Wieligman • Mary Ann Hart Latin American Music • Teresa Kubiak Academic Specialist • Carlos Montané • Javier León • Andreas Poulimenos • Marietta Simpson Music in General Studies • Patricia Stiles Provost Professor • Carol Vaness • Glenn Gass Associate Professors Senior Lecturers • Gary Arvin • Constance Cook Glen • Jane Dutton • Andrew Hollinden • Brian Gill Lecturer • Patricia Havranek (part-time) • Aida Huseynova • Brian Horne • Peter Volpe August 11, 2017 5 Opera Studies Overview Professor of Practice • Kevin Murphy History Assistant Professors Music instruction at Indiana University dates from the year • Mark Phelps 1893, but it was not until 1910 that a Department of Music • Shuichi Umeyama offering music for credit was officially organized, with Charles D. Campbell as head. In 1919 Barzille Winfred Academic Specialist Merrill was appointed head of the department and, in • Kimberly Carballo 1921, dean of the newly established School of Music. He Technical Studies was succeeded in 1938 by Dean Robert L. Sanders. In 1947 the appointment of Wilfred C. Bain as dean marked Senior Lecturer the beginning of a period of rapid growth and expansion. • Thomas Sparks (string instrument technology) Under the 24-year leadership of Dean Charles H. Webb
Recommended publications
  • ORCHESTRATINGA PENTHOUSEINNEW YORKFORTHE VIRTUOSOVIOLIMST Renovationarchitecture and Design by Charlesrose, Ata Textby Stevenm

    ORCHESTRATINGA PENTHOUSEINNEW YORKFORTHE VIRTUOSOVIOLIMST Renovationarchitecture and Design by Charlesrose, Ata Textby Stevenm

    BilB ORCHESTRATINGA PENTHOUSEINNEW YORKFORTHE VIRTUOSOVIOLIMST RenovationArchitecture and Design by CharlesRose, AtA Textby StevenM. L.Aronson Photographyby ScottFrances To create his Manhattan residence,Joshua Bell (above) workedwith architect Charles Rose. RrcHr: The 4pO0-square-foot penthouse's living area. Robsiohn-Gibbings low table and Harvey Probber bentwood bench, Eric Appel. Drapery fabric, Larsen. Sofas, Cassina. Odegard rug. 110| www.ArchitecturalDigest.com Asovn: At Bell's request, the archi- tar quality: that thing r,r'hich,as the Ed- to mention the Avery Fisher Prize. On the tect put a fireplace between the liv- wardianartistWalter Sickert - ing and dining areas, one with a oncesho\\ more corporeal side,Bell was one of Glnntour's mantel that cantilevers out on one ily definedit, "can shine, on peacock "It Men of the Millennium" and one of Peopte end to double as a bar. Rietveld days,like a plume of luck abole \-our magazine's"50 Most Beautiful." chair and dining chairs, Cassina. genius."JoshuaBell hasit. Resoundineh. Home is the top two floors, Pollack shade fabric in dining area. plus roof, of a for- Ffe'sa world-classclassical r-iolinist equalh-..rt rner manufacturing plant in Manhattan's Flat- home with popular music (Jos/:rt,rBell tr Hcttte iron District, namedforits signaturebuilding- with Ft'iends,hrsfirst duetsCD. u..rsrccenrh- "To me, the Flatiron Buildinfis NewYork," Eell released,and the friendstellinelr- inclu;- Strne. enthuses.He hired architectCharles Rose to gut Josh Groban, Kristin Chenowethanti -\i.r:. rn and then combine the floors and to transfo".m Hamlisch).And he'sstarred in sir i...-.:s:,,n the saggingold roof into a positivelypagan our- specials,performed all the soloson rh: Llsc:r- door spa(there's a hot tub and a showeropen to -i+i:;: '.i., winning soundtrackforThe Redt ,:.,i ,n the sky,a trellisedpergola, a fireplaceand a cop- a Grammy, a Gramophoneand a -\It:: -.r-.-.r,-r[ per-cladchimney).
  • ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP

    ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP

    ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious.
  • Music Standards

    Music Standards

    5th Grade Singing alone and with others Standard 1 Students sing alone or in groups, on pitch and in rhythm, using good tone, diction, breath control, and posture while maintaining a steady tempo. They sing from memory a variety of song repertoire, including ostinatos, partner songs, rounds, and music of many cultures and styles. They sing accurately with appropriate dynamics, breath control, phrasing, and interpretation. Students in fifth grade sing in groups, blending vocal sounds, matching dynamics, and following the conductor. 5.1.1 Sing warm-ups that stress diction, posture, and an appropriate singing tone. 5.1.2 Sing a round with appropriate dynamics, phrasing and interpretations. Maintain an independent part and keep a steady beat. 5.1.3 Sing a memorized song in a foreign language. 5.1.4 Follow the conductor. Playing an instrument alone and with others Standard 2 Students perform accurately, independently, and expressively on an instrument, either alone or in an ensemble. They echo easy rhythmic, melodic, and chordal patterns. Students perform in groups, blending instrumental tones, matching dynamics, and responding to the conductor. They perform instrumental parts while other students sing or play different parts. 5.2.1 Play an ostinato part independently. 5.2.2 Play a melody or rhythm in the proper tempo, using appropriate dynamics. 5.2.3 Play an accompaniment to a class or group song. Example: On a keyboard, guitar, mallet instrument, or autoharp, play an ostinato pattern while the group sings. 5.2.4 Play a variety of music of various cultures and styles. 5.2.5 Maintain an independent part on an instrument in a group while following the conductor.
  • To Read Or Download the Competition Program Guide

    To Read Or Download the Competition Program Guide

    THE KLEIN COMPETITION 2021 JUNE 5 & 6 The 36th Annual Irving M. Klein International String Competition TABLE OF CONTENTS Board of Directors Dexter Lowry, President Katherine Cass, Vice President Lian Ophir, Treasurer Ruth Short, Secretary Susan Bates Richard Festinger Peter Gelfand 2 4 5 Kevin Jim Mitchell Sardou Klein Welcome The Visionary The Prizes Tessa Lark Stephanie Leung Marcy Straw, ex officio Lee-Lan Yip Board Emerita 6 7 8 Judith Preves Anderson The Judges/Judging The Mentor Commissioned Works 9 10 11 Competition Format Past Winners About California Music Center Marcy Straw, Executive Director Mitchell Sardou Klein, Artistic Director for the Klein Competition 12 18 22 californiamusiccenter.org [email protected] Artist Programs Artist Biographies Donor Appreciation 415.252.1122 On the cover: 21 25 violinist Gabrielle Després, First Prize winner 2020 In Memory Upcoming Performances On this page: cellist Jiaxun Yao, Second Prize winner 2020 WELCOME WELCOME Welcome to the 36th Annual This year’s distinguished jury includes: Charles Castleman (active violin Irving M. Klein International performer/pedagogue and professor at the University of Miami), Glenn String Competition! This is Dicterow (former New York Philharmonic concertmaster and faculty the second, and we hope the member at the USC Thornton School of Music), Karen Dreyfus (violist, last virtual Klein Competition Associate Professor at the USC Thornton School of Music and the weekend. We have every Manhattan School of Music), our composer, Sakari Dixon Vanderveer, expectation that next June Daniel Stewart (Music Director of the Santa Cruz Symphony and Wattis we will be back live, with Music Director of the San Francisco Symphony Youth Orchestra), Ian our devoted audience in Swensen (Chair of the Violin Faculty at the San Francisco Conservatory attendance, at the San of Music), and Barbara Day Turner (Music Director of the San José Francisco Conservatory.
  • By MARTIN BOOKSPAN

    By MARTIN BOOKSPAN

    December 31, 2007, 8:00pm on PBS New York Philharmonic New Year’s Eve Gala with Joshua Bell In September Live From Lincoln Center observed one of its longtime traditions: the Gala opening concert of the new season of the New York Philharmonic. On December 31 we'll re-invent another longtime Live From Lincoln Center tradition: the Gala New Year's Eve concert by the New York Philharmonic. Music Director Lorin Maazel will be on the podium for a program of music appropriate for the festive occasion, and the guest artist will be the acclaimed violinist, Joshua Bell. I first encountered Joshua Bell at the Spoleto Festival, U.S.A. in Charleston, South Carolina. He was then barely into his teens but he was already a formidable violinist, playing chamber music with some of the world's most honored musicians. Not long afterward he burst upon the international scene at what was described as "a sensational debut" with the Philadelphia Orchestra and its Music Director of the time, Riccardo Muti. Joshua Bell was brought up in Bloomington, Indiana, where his father was a Professor at Indiana University. I.U., as it is known in academia, is an extraordinary university, with a School of Music that is world-renowned. Among its outstanding faculty was the eminent violinist Josef Gingold, who became Josh's inspired (and inspiring) mentor and devoted friend. Indeed it was the presence of Gingold in Indiana that led to the establishment of the Indianapolis International Violin Competition. One way for a young musician to attract attention is to win one of the major international competitions.
  • Peter Grimes Benjamin Britten

    Peter Grimes Benjamin Britten

    Peter Grimes Benjamin Britten THEATER 16/17 FOR YOUR INFORMATION Do you want more information about upcoming events at the Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through music.indiana.edu/publicity. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. Musical Arts Center The Musical Arts Center (MAC) Box Office is open Monday – Friday, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times. Other permit holders: Free access if entering after 5 p.m. any day of the week.
  • Media Kit Contents

    Media Kit Contents

    MEDIA KIT CONTENTS 3 At a Glance 4 Over the Years 5 By the Numbers 6 Beyond the Basics 19 On the Map 23 For the Record 24 Contact Info MEDIA KIT / 2 AT A GLANCE nclusive, affordable, academic, and unpretentious, IBloomington is a progressive small-town gem in the heart of the rolling hills of southern Indiana. Centered around Indiana University, it’s a place to nurture your intellect and get back to nature. That’s why the destination draws industrious thinkers, creators, and adventurers from around the world who make their home and memories amid its limestone cliffs, lush forests, and pristine lakes. Lake life is a way of life here (we have the state’s largest), but Bloomington’s nationally recognized music industry, comedy scene, and food culture make it easy to forget the serene natural beauty just minutes outside of town. It’s an ideal destination for day hikes and rides, late-night shows, great coffee and craft spirits, unique hotels, inns, and cabins. Just an hour south of Indianapolis and within three hours of most major Midwest cities, Bloomington is an entrancing Heartland favorite that keeps visitors coming back, year after year. MEDIA KIT / 3 1818 City of Bloomington and Monroe County are founded 1820 Indiana University (IU) is founded 1867 IU becomes one of the first state universities to admit women OVER 1927 Bloomington’s oldest restaurant, Nick’s English Hut, opens 1940 The IU Hoosier basketball team wins THE first NCAA Championship 1947 Alfred Kinsey founds the Institute for Sex Research at Indiana University YEARS Lake Lemon is created 1950 Bloomington and Indiana 1951 First running of the Little 500 University were born just two 1953 Café Pizzaria begins serving pizza in Bloomington years apart and the two have had a strong bond ever since.
  • Sounding Nostalgia in Post-World War I Paris

    Sounding Nostalgia in Post-World War I Paris

    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing.
  • Boston Symphony Orchestra Concert Programs

    Boston Symphony Orchestra Concert Programs

    m fl ^ j- ? i 1 9 if /i THE GREAT OUTDOORS THE GREAT INDOORS Beautiful, spacious country condominiums on 55 magnificent acres with lake, swimming pool and tennis courts, minutes from Tanglewood and the charms of Lenox and Stockbridge. FOR INFORMATION CONTACT (413) 443-3330 1136 Barker Road (on the Pittsfield-Richmond line) GREAT LIVING IN THE BERKSHIRES Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Seventh Season, 1987-88 Trustees of the Boston Symphony Orchestra, Inc. Kidder, President Nelson J. Darling, Jr., Chairman George H. T Mrs. John M. Bradley, Vice-Chairman J. P. Barger, V ice-Chairman Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Vernon R. Alden Mrs. Michael H. Davis Roderick M. MacDougall David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Mrs. Norman L. Cahners Mrs. John H. Fitzpatrick David G. Mugar James F. Cleary Avram J. Goldberg Mrs. George R. Rowland William M. Crozier, Jr. Mrs. John L. Grandin Richard A. Smith Mrs. Lewis S. Dabney Francis W. Hatch, Jr. Ray Stata Harvey Chet Krentzman Trustees Emeriti Philip K. Allen Mrs. Harris Fahnestock Irving W. Rabb Allen G. Barry E. Morton Jennings, Jr. Paul C. Reardon Leo L. Beranek Edward M. Kennedy Mrs. George L. Sargent Richard P. Chapman Albert L. Nickerson Sidney Stoneman Abram T. Collier Thomas D. Perry, Jr. John Hoyt Stookey George H.A. Clowes, Jr. John L. Thorndike Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Administration of the Boston Symphony Orchestra, Inc.
  • INDIANA UNIVERSITY JACOBS SCHOOL of MUSIC for ALL WHO ARE for More Than a Century, the Jacobs School of Music Has Been Synonymous with Excellence

    INDIANA UNIVERSITY JACOBS SCHOOL of MUSIC for ALL WHO ARE for More Than a Century, the Jacobs School of Music Has Been Synonymous with Excellence

    INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC FOR ALL WHO ARE For more than a century, the Jacobs School of Music has been synonymous with excellence. Nowhere else have so many of the world’s most preeminent UPLIFTED BY musicians come together to nurture the talents of exceptionally gifted students. In this atmosphere of extraordinary cultural richness, discipline and discovery merge in world-class performers who are deeply engaged with both their craft and their communities. You are the power behind this unparalleled legacy. You make it EXCELLENCE possible for the next generation of outstanding talent to develop its abilities, reach its full potential, and share its gifts with the world. Join us as we seek to raise critical private support as part of For All: The Indiana University Bicentennial Campaign. With your help, we will ensure that this storied institution embraces all the opportunities of the 21st century to inspire students, educators, and audiences around the globe. Together, we will fulfill the promise of an uplifted century, powered by transformative expression for all. GOAL #1: STRENGTHEN STUDENT SUPPORT IT STARTS Students arrive at the IU Jacobs School of WITH YOU Music brimming with talent and drive. They leave as musical activists—committed to connecting others to an expressive life through the transformative power of music. Undergraduate This revered music school is recognized among the very scholarships attract the best in the nation, with Jacobs School alumni powering brightest talents from major orchestras and opera houses all over the world. every background Unlike other leading music educators, however, the Jacobs and area.
  • Guitar Best Practices Years 1, 2, 3 and 4 Nafme Council for Guitar

    Guitar Best Practices Years 1, 2, 3 and 4 Nafme Council for Guitar

    Guitar Best Practices Years 1, 2, 3 and 4 Many schools today offer guitar classes and guitar ensembles as a form of music instruction. While guitar is a popular music choice for students to take, there are many teachers offering instruction where guitar is their secondary instrument. The NAfME Guitar Council collaborated and compiled lists of Guitar Best Practices for each year of study. They comprise a set of technical skills, music experiences, and music theory knowledge that guitar students should know through their scholastic career. As a Guitar Council, we have taken careful consideration to ensure that the lists are applicable to middle school and high school guitar class instruction, and may be covered through a wide variety of method books and music styles (classical, country, folk, jazz, pop). All items on the list can be performed on acoustic, classical, and/or electric guitars. NAfME Council for Guitar Education Best Practices Outline for a Year One Guitar Class YEAR ONE - At the completion of year one, students will be able to: 1. Perform using correct sitting posture and appropriate hand positions 2. Play a sixteen measure melody composed with eighth notes at a moderate tempo using alternate picking 3. Read standard music notation and play on all six strings in first position up to the fourth fret 4. Play melodies in the keys C major, a minor, G major, e minor, D major, b minor, F major and d minor 5. Play one octave scales including C major, G major, A major, D major and E major in first position 6.
  • Classical Music from the Late 19Th Century to the Early 20Th Century: the Creation of a Distinct American Musical Sound

    Classical Music from the Late 19Th Century to the Early 20Th Century: the Creation of a Distinct American Musical Sound

    Portland State University PDXScholar Young Historians Conference Young Historians Conference 2019 May 1st, 12:30 PM - 1:45 PM Classical Music from the Late 19th Century to the Early 20th Century: The Creation of a Distinct American Musical Sound Ashley M. Christensen Lakeridge High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Music Theory Commons Let us know how access to this document benefits ou.y Christensen, Ashley M., "Classical Music from the Late 19th Century to the Early 20th Century: The Creation of a Distinct American Musical Sound" (2019). Young Historians Conference. 13. https://pdxscholar.library.pdx.edu/younghistorians/2019/oralpres/13 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. CLASSICAL MUSIC FROM THE LATE 19th CENTURY TO THE EARLY 20th CENTURY: THE CREATION OF A DISTINCT AMERICAN MUSICAL SOUND Marked by the conflict of the Civil War, the late 19th century of American history marks an extremely turbulent time for the United States of America. As the young nation reached the second half of the century, idle threats of a Southern secession from the union bloomed into an all-encompassing conflict. However, through the turbulence of the war, American music persisted. Strengthened in battle, the ideas of a reconstructed American national identity started to form a distinctly different American culture and way of life. This is reflected in the nation’s shift in the music written after the war.