Open Brown SHC Thesis.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Songs of the Mighty Five: a Guide for Teachers and Performers
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks SONGS OF THE MIGHTY FIVE: A GUIDE FOR TEACHERS AND PERFORMERS BY SARAH STANKIEWICZ DAILEY Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University July, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Ayana Smith, Research Director __________________________________ Mary Ann Hart, Chairperson __________________________________ Marietta Simpson __________________________________ Patricia Stiles ii Copyright © 2013 Sarah Stankiewicz Dailey iii To Nathaniel iv ACKNOWLEDGMENTS I wish to express many thanks and appreciation to the members of my committee—Dr. Ayana Smith, Professor Mary Ann Hart, Professor Marietta Simpson, and Professor Patricia Stiles—for their support, patience, and generous assistance throughout the course of this project. My special appreciation goes to Professor Hart for her instruction and guidance throughout my years of private study and for endowing me with a love of song literature. I will always be grateful to Dr. Estelle Jorgensen for her role as a mentor in my educational development and her constant encouragement in the early years of my doctoral work. Thanks also to my longtime collaborator, Karina Avanesian, for first suggesting the idea for the project and my fellow doctoral students for ideas, advice, and inspiration. I am also extremely indebted to Dr. Craig M. Grayson, who graciously lent me sections of his dissertation before it was publically available. Finally, my deepest gratitude goes to my family for love and support over the years and especially my husband, Nathaniel, who has always believed in me. -
Sergei Prokofiev Russia Modern Era Composer (1891-1953)
Hey Kids, Meet Sergei Prokofiev Russia Modern Era Composer (1891-1953) Sergei Prokofiev was born in Russia on April 27, 1891. He began studying the piano with his mother at the age of three. By the age of five Sergei was displaying unusual musical abilities. His first composition, written down by his mother, was called Indian Gallop. By the age of nine he had written his first opera, The Giant. At the age of thirteen Sergei entered the St. Petersburg Conservatory having already produced a whole portfolio of compositions. While at the conservatory he studied with Russian composer Nikolai Rimsky-Korsakov. Later in his life, Prokofiev was said to have regretted not having taken full advantage of this opportunity. The music that Prokofiev composed was new and different. He brought to the concert hall strange new harmonies, dynamic rhythms and lots of humor. When the Russian Revolution broke out, Prokofiev traveled to America. He hoped he would be able to compose in peace. American audiences, however, were not ready for his new sounds so he moved to Paris. In Paris, Prokofiev found greater success where his operas and ballets were well liked. Prokofiev returned to Russia in 1932 spending the last 19 years of his life in his home country. During this time, he produced some of his finest works including Peter and the Wolf for chamber orchestra and narrator, and the score for his ballet Romeo and Juliet which contained some of his most inspired music. Sergei Prokofiev died on March 5, 1953 as one of the most admired composers of the twentieth century. -
The Musical Partnership of Sergei Prokofiev And
THE MUSICAL PARTNERSHIP OF SERGEI PROKOFIEV AND MSTISLAV ROSTROPOVICH A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY JIHYE KIM DR. PETER OPIE - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2011 Among twentieth-century composers, Sergei Prokofiev is widely considered to be one of the most popular and important figures. He wrote in a variety of genres, including opera, ballet, symphonies, concertos, solo piano, and chamber music. In his cello works, of which three are the most important, his partnership with the great Russian cellist Mstislav Rostropovich was crucial. To understand their partnership, it is necessary to know their background information, including biographies, and to understand the political environment in which they lived. Sergei Prokofiev was born in Sontovka, (Ukraine) on April 23, 1891, and grew up in comfortable conditions. His father organized his general education in the natural sciences, and his mother gave him his early education in the arts. When he was four years old, his mother provided his first piano lessons and he began composition study as well. He studied theory, composition, instrumentation, and piano with Reinhold Glière, who was also a composer and pianist. Glière asked Prokofiev to compose short pieces made into the structure of a series.1 According to Glière’s suggestion, Prokofiev wrote a lot of short piano pieces, including five series each of 12 pieces (1902-1906). He also composed a symphony in G major for Glière. When he was twelve years old, he met Glazunov, who was a professor at the St. -
Love Ain't Got No Color?
Sayaka Osanami Törngren LOVE AIN'T GOT NO COLOR? – Attitude toward interracial marriage in Sweden Föreliggande doktorsavhandling har producerats inom ramen för forskning och forskarutbildning vid REMESO, Institutionen för Samhälls- och Välfärdsstudier, Linköpings universitet. Samtidigt är den en produkt av forskningen vid IMER/MIM, Malmö högskola och det nära samarbetet mellan REMESO och IMER/MIM. Den publiceras i Linköping Studies in Arts and Science. Vid filosofiska fakulteten vid Linköpings universitet bedrivs forskning och ges forskarutbildning med utgångspunkt från breda problemområden. Forskningen är organiserad i mångvetenskapliga forskningsmiljöer och forskarutbildningen huvudsakligen i forskarskolor. Denna doktorsavhand- ling kommer från REMESO vid Institutionen för Samhälls- och Välfärdsstudier, Linköping Studies in Arts and Science No. 533, 2011. Vid IMER, Internationell Migration och Etniska Relationer, vid Malmö högskola bedrivs flervetenskaplig forskning utifrån ett antal breda huvudtema inom äm- nesområdet. IMER ger tillsammans med MIM, Malmö Institute for Studies of Migration, Diversity and Welfare, ut avhandlingsserien Malmö Studies in International Migration and Ethnic Relations. Denna avhandling är No 10 i avhandlingsserien. Distribueras av: REMESO, Institutionen för Samhälls- och Välfärsstudier, ISV Linköpings universitet, Norrköping SE-60174 Norrköping Sweden Internationell Migration och Etniska Relationer, IMER och Malmö Studies of Migration, Diversity and Welfare, MIM Malmö Högskola SE-205 06 Malmö, Sweden ISSN -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
Read Book Sergei Prokofiev Peter and Wolf Pdf Free Download
SERGEI PROKOFIEV PETER AND WOLF PDF, EPUB, EBOOK Sergei Prokofiev | 40 pages | 14 Sep 2004 | Random House USA Inc | 9780375824302 | English | New York, United States Sergei Prokofiev Peter and Wolf PDF Book Prokofiev had been considering making an opera out of Leo Tolstoy 's epic novel War and Peace , when news of the German invasion of the Soviet Union on 22 June made the subject seem all the more timely. This article contains a list of works that does not follow the Manual of Style for lists of works often, though not always, due to being in reverse-chronological order and may need cleanup. William F. You have entered an incorrect email address! The cat quickly climbs into the tree with the bird, but the duck, who has jumped out of the pond, is chased, overtaken, and swallowed by the wolf. Help Learn to edit Community portal Recent changes Upload file. To this day, elementary school children hear Peter and the Wolf during school assemblies or at concerts for young people. Merriam-Webster Dictionary. The Independent. However, Prokofiev was dissatisfied with the rhyming text produced by Antonina Sakonskaya, a then popular children's author. The Lives of Ingolf Dahl. Russian composer — Explore more from this episode More. Each character of this tale is represented by a corresponding instrument in the orchestra: the bird by a flute, the duck by an oboe, the cat by a clarinet playing staccato in a low register, the grandfather by a bassoon, the wolf by three horns, Peter by the string quartet, the shooting of the hunters by the kettle drums and bass drum. -
1 the Association for Diplomatic Studies and Training Foreign Affairs
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project AMBASSADOR HARRY JOSEPH GILMORE Interviewed by: Charles Stuart Kennedy Initial interview date: February 3, 2003 Copyright 2012 ADST TABLE OF CONTENTS Background Born and raised in Pennsylvania Carnegie Institute of Technology (Carnegie Mellon University) University of Pittsburgh Indiana University Marriage Entered the Foreign Service in 1962 A,100 Course Ankara. Turkey/ 0otation Officer1Staff Aide 1962,1963 4upiter missiles Ambassador 0aymond Hare Ismet Inonu 4oint US Military Mission for Aid to Turkey (4USMAT) Turkish,US logistics Consul Elaine Smith Near East troubles Operations Cyprus US policy Embassy staff Consular issues Saudi isa laws Turkish,American Society Internal tra el State Department/ Foreign Ser ice Institute (FSI)7 Hungarian 1963,1968 9anguage training Budapest. Hungary/ Consular Officer 1968,1967 Cardinal Mindszenty 4anos Kadar regime 1 So iet Union presence 0elations Ambassador Martin Hillenbrand Israel Economy 9iberalization Arab,Israel 1967 War Anti,US demonstrations Go ernment restrictions Sur eillance and intimidation En ironment Contacts with Hungarians Communism Visa cases (pro ocations) Social Security recipients Austria1Hungary relations Hungary relations with neighbors 0eligion So iet Mindszenty concerns Dr. Ann 9askaris Elin OAShaughnessy State Department/ So iet and Eastern Europe EBchange Staff 1967,1969 Hungarian and Czech accounts Operations Scientists and Scholars eBchange programs Effects of Prague Spring 0elations -
Acervo-Circovoador 2004-2009.Pdf
2004/2009 Primeira Edição Rio de Janeiro 2017 Roberta Sá 19/01/2009 Foto Lucíola Villela EXTRA / Agência O Globo Sumário 6 Circo Voador 8.Apresentação 21.Linha do Tempo/ Coleção de MiniDV 2004/2009 7 Apresentação Depois de mais de sete anos fechado, o Circo 13/07/2004 Voador foi reinaugurado no dia 22 de julho de Foto Michel Filho 2004. Os anos entre o fechamento e a reabertura Agência O Globo foram de muita militância cultural, política e judicial, num movimento que reuniu pessoas da classe artística e políticos comprometidos com as causas culturais. Vencedor de uma ação popular, o Circo Voador ganhou o direito de voltar ao funcionamento, e a prefeitura do Rio de Janeiro ‒ que havia demolido o arcabouço anterior ‒ foi obrigada a construir uma nova estrutura para a casa. Com uma nova arquitetura, futurista e mais atenta às questões acústicas inerentes a uma casa de shows, o Circo retomou as atividades no segundo semestre de 2004 e segue ininterruptamente oferecendo opções de diversão, alegria e formação artística ao público do Rio e a todos os amantes de música e arte em geral. 8 Circo Voador Apresentação Uma característica do Acervo Circo Voador pós-reabertura é que a grande maioria dos eventos tem registro filmado. Ao contrário do período 1982-1996, que conta com uma cobertura significativa mas relativamente pequena (menos de 15% dos shows filmados), após 2004 temos mais de 95% dos eventos registrados em vídeo. O formato do período que este catálogo abrange, que vai de 2004 a 2009, é a fita MiniDV, extremamente popular à época por sua relação custo-benefício e pela resolução de imagem sensivelmente melhor do que outros formatos profissionais e semiprofissionais. -
The Story of Peter and the Wolf
The Story of Peter and the Wolf Early one morning, Peter opened the gate and walked out into the big green meadow. On a branch of a big tree sat a little bird, Peter's friend. "All is quiet" chirped the bird happily. Just then a duck came waddling round. She was glad that Peter had not closed the gate and decided to take a nice swim in the deep pond in the meadow. Seeing the duck, the little bird flew down upon on the grass, settled next to her and shrugged his shoulders. "What kind of bird are you if you can't fly?" said he. To this the duck replied "What kind of bird are you if you can't swim?" and dived into the pond. They argued and argued, the duck swimming in the pond and the little bird hopping along Just then grandfather came out. He was upset the shore. because Peter had gone in the meadow. Suddenly, something caught Peter's attention. "It's a dangerous place. If a wolf should come He noticed a cat crawling through the grass. out of the forest, The cat thought; then what would "That little bird is you do?" busy arguing, I'll But Peter paid just grab him. no attention to Stealthily, the cat his grandfather's crept towards him on words. Boys like her velvet paws. him are not "Look out!" shouted Peter and the bird afraid of wolves. immediately flew up into the tree, while the But grandfather duck quacked angrily at the cat, from the took Peter by middle of the pond. -
2018 Petroushka Ball Journal
2018 ROSSINI SEMIRAMIDE METROPOLITAN OPERA METROPOLITAN / PHOTO: MARTY SOHL ON STAGE FEB 19 – MAR 17 High-flying soprano Angela Meade takes on the virtuosic title role in Rossini’s masterpiece of dazzling vocal fireworks. The all-star cast also features Ildar Abdrazakov, Elizabeth DeShong, and Javier Camarena. Maurizio Benini conducts. Tickets start at $25 metopera.org 212.362.6000 TheThe 44th53rd Annual Annual PetroushkaPetroushka Ball Ball FebruaryFebruary 13,9th, 20092018 •• Waldorf=AstoriaThe Plaza Hotel •• NewNew YorkYork CityCity To Benefit thethe RussianRussian Children’s Children’s Welfare Welfare Society Society Dear Guests, It is with great pleasure that I welcome you to the 53rd Petroushka Ball The Russian Children’s Welfare Society’s mission is to help the thousands of disadvantaged children of Russia. The Society was founded in 1926 and, during the past 92 years, has undergone a number of permutations which were the result of the many political and social shifts over the 20th Century. Originally, the Society exclusively helped children of Russian decent outside of Russia who were victims of the Russian Revolution and World Wars I & II. Eventually Europe, followed by South America, became self-sufficient and the Society refocused its efforts on helping children in Russia after the fall of the Soviet Union. For the past two decades, the Society has devoted all of its aid to Russia. The Society’s primary activities include: pediatric maxillofacial surgery in partnership with the Russian Aid Foundation; a successful college scholarship program currently supporting 157 students; assisting vetted orphanages; and hosting an an- nual Christmas “Yelka” party where over 1,000 orphans from across Russia celebrate an unforgettable day in Moscow. -
Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music
Teacher Notes on Russian Music and Composers x Prokofiev gave up his popularity and wrote music to please Stalin. He wrote music to please the government. x Stravinsky is known as the great inventor of Russian music. x The 19th century was a time of great musical achievement in Russia. This was the time period in which “The Five” became known. They were: Rimsky-Korsakov (most influential, 1844-1908) Borodin Mussorgsky Cui Balakirev x Tchaikovsky (1840-’93) was not know as one of “The Five”. x Near the end of the Stalinist Period Prokofiev and Shostakovich produced music so peasants could listen to it as they worked. x During the 17th century, Russian music consisted of sacred vocal music or folk type songs. x Peter the Great liked military music (such as the drums). He liked trumpet music, church bells and simple Polish music. He did not like French or Italian music. Nor did Peter the Great like opera. Notes Compiled by Carol Mohrlock 90 Igor Fyodorovich Stravinsky (1882-1971) I gor Stravinsky was born on June 17, 1882, in Oranienbaum, near St. Petersburg, Russia, he died on April 6, 1971, in New York City H e was Russian-born composer particularly renowned for such ballet scores as The Firebird (performed 1910), Petrushka (1911), The Rite of Spring (1913), and Orpheus (1947). The Russian period S travinsky's father, Fyodor Ignatyevich Stravinsky, was a bass singer of great distinction, who had made a successful operatic career for himself, first at Kiev and later in St. Petersburg. Igor was the third of a family of four boys. -
Behind the Scenes of the Fiery Angel: Prokofiev's Character
CORE Metadata, citation and similar papers at core.ac.uk Provided by ASU Digital Repository Behind the Scenes of The Fiery Angel: Prokofiev's Character Reflected in the Opera by Vanja Nikolovski A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved March 2018 by the Graduate Supervisory Committee: Brian DeMaris, Chair Jason Caslor James DeMars Dale Dreyfoos ARIZONA STATE UNIVERSITY May 2018 ABSTRACT It wasn’t long after the Chicago Opera Company postponed staging The Love for Three Oranges in December of 1919 that Prokofiev decided to create The Fiery Angel. In November of the same year he was reading Valery Bryusov’s novel, “The Fiery Angel.” At the same time he was establishing a closer relationship with his future wife, Lina Codina. For various reasons the composition of The Fiery Angel endured over many years. In April of 1920 at the Metropolitan Opera, none of his three operas - The Gambler, The Love for Three Oranges, and The Fiery Angel - were accepted for staging. He received no additional support from his colleagues Sergi Diaghilev, Igor Stravinsky, Vladimir Mayakovsky, and Pierre Souvchinsky, who did not care for the subject of Bryusov’s plot. Despite his unsuccessful attempts to have the work premiered, he continued working and moved from the U.S. to Europe, where he continued to compose, finishing the first edition of The Fiery Angel. He married Lina Codina in 1923. Several years later, while posing for portrait artist Anna Ostroumova-Lebedeva, the composer learned about the mysteries of a love triangle between Bryusov, Andrey Bely and Nina Petrovskaya.