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Go Forth Unafraid
Go forth unafraid A Welcome to Dalton 2 Our Mission 4 Our History 5 The Dalton Plan 7 Our Focus on Values 9 The Dalton Technology Plan 12 The First Program 14 The Middle School 24 The High School 34 Our Faculty 48 Admissions Procedures and Financial Aid 56 Opportunities for Involvement 59 Welcome to The As both an alumna and The Dalton School played an important role in twentieth- century American educational history and continues to be the Head of School, I am a model emulated in schools around the world. Through the vision of its founder, Helen Parkhurst, Dalton is delighted that you are fortunate to have a unique and clearly articulated philosophy of learning that continues to guide the school’s interested in The Dalton educational practices today. True to our motto, Go Forth School. The purpose of Unafraid, we have fearlessly embraced the new challenges of educating students in the constantly changing world this catalog and the entire of the twenty-first century. While continuing to use Parkhurst’s philosophy as our basic framework, we admissions process is to regularly re-evaluate the knowledge and skills our students must possess in order to be enlightened, socially conscious, help you understand what and skilled young people. is distinctive about our Dalton is alive with a dedicated, highly trained faculty and an inquisitive and talented student body. A stimulating school so that you can curriculum and extensive service learning and extra- make an informed decision curricular opportunities continually expand Dalton students’ understanding of their world and empower in finding the optimal them as global citizens, a major goal of our school. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
American Viola Works
Cedille Records CDR 90000 053 AMERICAN VIOLA WORKS Cathy Basrak viola William Koehler Robert Koenig piano music by George Rochberg Frederick Jacobi Alan Shulman Quincy Porter Lowell Liebermann DDD Absolutely Digital™ CDR 90000 053 AMERICAN VIOLA WORKS GEORGE ROCHBERG: SONATA FOR VIOLA AND PIANO (1979) (20:24) 1 I. Allegro moderato (10:11) 2 II. Adagio lamentoso (7:06) 3 III. Fantasia: Epilogue (2:58) 4 FREDERICK JACOBI: FANTASY FOR VIOLA AND PIANO (1941) (9:47)* 5 ALAN SHULMAN: THEME AND VARIATIONS (1940) (14:02)** 6 QUINCY PORTER: SPEED ETUDE (1948) (2:21)* LOWELL LIEBERMANN: SONATA FOR VIOLA AND PIANO (1984) (25:23)* 7 I. Allegro moderato (8:53) 8 II. Andante (8:57) 9 III. Recitativo (7:24) CATHY BASRAK, VIOLA WILLIAM KOEHLER 4, 7-9 & ROBERT KOENIG 1-3, 5, 6 PIANO *first recording **first recording of original version TT: (72:35) CDCD EFEFEF Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. The Chi- cago Classical Recording Foundation’s activities are supported in part by contributions and grants from individuals, foundations, and corporations, including the WPWR-TV Channel 50 Foundation. PROGRAM NOTES compiled by Cathy Basrak eorge Rochberg (b. 1918) studied rederick Jacobi was born in 1891 G composition at the Mannes School F in San Francisco and died in 1952 of Music and the Curtis Institute. In 1948, in New York. A composition pupil of Rubin he joined the faculty at Curtis, then taught Goldmark and Ernest Bloch, Jacobi served at the University of Pennsylvania, retir- as an assistant conductor of the Metropoli- ing in 1983 as Annenberg Professor of tan Opera and taught composition at Juil- the Humanities Emeritus. -
Collective Difference: the Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Collective Difference: The Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N. Stallings Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC COLLECTIVE DIFFERENCE: THE PAN-AMERICAN ASSOCIATION OF COMPOSERS AND PAN-AMERICAN IDEOLOGY IN MUSIC, 1925-1945 By STEPHANIE N. STALLINGS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2009 Copyright © 2009 Stephanie N. Stallings All Rights Reserved The members of the Committee approve the Dissertation of Stephanie N. Stallings defended on April 20, 2009. ______________________________ Denise Von Glahn Professor Directing Dissertation ______________________________ Evan Jones Outside Committee Member ______________________________ Charles Brewer Committee Member ______________________________ Douglass Seaton Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I would like to express my warmest thanks to my dissertation advisor, Denise Von Glahn. Without her excellent guidance, steadfast moral support, thoughtfulness, and creativity, this dissertation never would have come to fruition. I am also grateful to the rest of my dissertation committee, Charles Brewer, Evan Jones, and Douglass Seaton, for their wisdom. Similarly, each member of the Musicology faculty at Florida State University has provided me with a different model for scholarly excellence in “capital M Musicology.” The FSU Society for Musicology has been a wonderful support system throughout my tenure at Florida State. -
Universiv Micrcsilms International
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. Tlie sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
Maquetación 1
The Dalton Plan in Spain: Reception and Appropriation (1920-1939)1 El Plan Dalton en España: Recepción y Apropiación (1920-1939) DOI: 10.4438/1988-592X-RE-2017-377-355 María del Mar Del Pozo Andrés Universidad de Alcalá Sjaak Braster Erasmus University of Rotterdam Abstract Introduction. All the methodologies developed by the Progressive Education movement followed a comparable process of reception and appropriation in Spain. This process began with visits abroad by «pedagogical explorers», sponsored for the most part by the Junta para Ampliación de Estudios (Board for Advanced Studies) and concluded with the practical experiences performed by the Spanish schoolteachers in their schools. This paper explores how the Dalton Plan perfectly matches the model constructed for explaining other innovative methodologies, but also tries to understand the reasons of its little success amongst the teachers. Methodology. All the steps of the historical method have been followed: research and review of manuscript, bibliographical, hemerographical and iconographical sources, comparison between countries and critical analysis of the documentation that was used. Results. In this article we begin by showing the considerable impact that the Dalton Plan had countries such as Great Britain, that were in search of a good alternative for the (1) This work forms part of the project «Educational Progressivism and School Tradition in Spain through Photography (1900–1970)» [EDU2014-52498-C2-1-P], funded by the Spanish Ministry of Economy and Competitiveness within the framework of the National R&D and Innovation Plan. Revista de Educación, 377. July-September 2017, pp. 111-134 111 Received: 02-11-2016 Accepted: 24-03-2017 Del Pozo Andrés, M.ª del M., Braster, S. -
Jacob Avshalomov, Conductor Music by Avshalomov, Harris, and Ward
NWCR664 Portland Youth Philharmonic Jacob Avshalomov, conductor Music by Avshalomov, Harris, and Ward Avshalomov: Phases of The Great Land (1958) .............................. (15:33) 1. I. The Long Night; Klondike Fever .......... (8:26) 2. II. The Summer Days; Anchorage Aloft ... (7:03) Harris: 3. Elegy and Dance (1958) ...................................... (9:46) Ward: Divertimento for Orchestra (1961) ............................ (18:01) 4. I. Fanfare and Allegro .............................. (4:45) 5. II. Intermezzo ........................................... (5:37) 6. III. Finale: Vivace .................................... (7:31) Portland Youth Philharmonic; Jacob Avshalomov, conductor Avshalomov: 7. Cantata: How Long Oh Lord .............................. (14:45) Neil Wilson, baritone; Portland Symphonic Choir, Frank Holman, director Total playing time: 58:30 Ê & © 1994 Composers Recordings Inc. © 2007 Anthology of Recorded Music, Inc. Notes Oregon’s Portland Youth Philharmonic is America’s first accomplishments: Music Is Where You Make It and The youth orchestra, founded in 1924 and celebrating its Concerts Reviewed. seventieth anniversary in the 1993–94 season. A decade ago, An important and ongoing aspect of the Orchestra’s activities a highlight of its sixtieth anniversary was the joint concert has been the commissioning, premiering, and recording of given with the New York Philharmonic and Leonard new works. The Orchestra had a special relationship with the Bernstein en route to a European tour. In 1992, the orchestra late Ernest Bloch, a long-time Oregon resident, and it toured in Japan and Korea. In June 1994, it will make its sixth continues to perform works by David Diamond, Roy Harris, international tour to Germany to play at major venues in Benjamin Lees, William Bergsma, and Robert Ward. The Frankfurt, Stuttgart, Augsburg, Munich, and Berlin. -
MLA Meets in Dallas
MMLLAA NEWSLETTER MMLLAA MMeeeettss iinn DDaallllaass Part I of Annual Meeting Coverage Inside: Feature: Get to Know Your Calendar . 15 President’s Report . 2 Membership . 9 MLA News . 18 Annual Meeting Coverage . 3 Developing Trends . 10 Announcements . 23 In Recognition . 5 New Members . 10 Members’ Publications . 25 Transitions . 8 Committee Reports . 11 No. 168 Mar–April 2012 ISSN 0580-289-X President’s Report MUSIC LIBRARY ASSOCIATION Jerry McBride, MLA President In addition to the annual meet- Board of Directors Greetings, MLA members. ing, the work of Officers It is always a pleasure to review MLA continues. Work on the strategic JERRY MCBRIDE, President the events at a MLA meeting, and plan continued culminating in the Stanford University this year’s meeting at Dallas had its town hall meeting at the conference. MICHAEL COLBY, Vice-President/President Elect share of high points. From jazz col- Strategic planning is an ongoing University of California–Davis lections at UNT to best practices for process, and MLA members are en- PAMELA BRISTAH, Recording Secretary fair use, from form/genre terms to couraged to contact members of the Wellesley College information-seeking behaviors and board with your ideas and sugges- LINDA W. BLAIR, Administrative Officer new information tools in the cloud— tions for future directions MLA Eastman School of Music these are just a sampling of the should be taking. PAUL CARY, Assistant Administrative Officer wealth of interesting programs at the There were a number of task Baldwin-Wallace College conference. When there was time to forces that submitted their reports to slip out of the hotel, you could visit the board at its Dallas meeting. -
The Choral Works of Robert Ward: a View of His Compositional Approach to Text Settings and His Use of Symbols and Allusions
THE CHORAL WORKS OF ROBERT WARD: A VIEW OF HIS COMPOSITIONAL APPROACH TO TEXT SETTINGS AND HIS USE OF SYMBOLS AND ALLUSIONS. Carlton S. Tucker, B.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Henry Gibbons, Major Professor and Chair of the Division of Conducting and Ensembles Graham Phipps, Minor Professor and Director of Graduate Studies in the College of Music Jerry McCoy, Committee Member James Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Tucker, Carlton S. The Choral Works of Robert Ward: A View of His Compositional Approach to Text Settings and His Use of Symbols and Allusions. Doctor of Musical Arts (Performance), May 2007, 108 pp., 2 figures, 33 examples, references, 53 titles. Robert Eugene Ward’s impressive body of work encompasses almost every genre of music. He has composed symphonies, operas, large orchestral pieces, chamber works, solo instrumental pieces, extended choral works, short choral pieces, ceremonial works, a ballet, theatre pieces, and even jazz and swing band pieces. Ward’s name is recognized in most musical circles but usually only for his opera The Crucible, a work for which he earned a Pulitzer Prize in 1962. In fact, a survey of all the dissertations, articles, interviews, and books written about Robert Ward shows that the vast majority of these studies focus on his most famous opera. His choral works, though they comprise some of Ward’s most expressive work, have received little attention. Ward’s works show a deliberate use of symbols and allusions. -
A Critical Study Op the Experience Unit in Elementary Education with Special Reference to the Elementary Schools Op Erie County, New York
A CRITICAL STUDY OP THE EXPERIENCE UNIT IN ELEMENTARY EDUCATION WITH SPECIAL REFERENCE TO THE ELEMENTARY SCHOOLS OP ERIE COUNTY, NEW YORK Dissertation Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Anthony Milanovlch, B,S., M.S. The Ohio State University 1952 Approved by* Adviser AC KNOWLEDGMENTS The writer takes this opportunity to express his sin cere appreciation to the many people who helped to make this study possible. Special thanks are due his adviser, Dr. Harold Alberty, for his wise counsel, constructive criticism, and understanding attitude. The writer is also deeply in debted to the other members of his committee, Dr. Lowry W. Harding and Dr. Ward G. Reeder, for cooperation, encourage ment, and practioal suggestions. The writer owes a debt of gratitude to the teachers, principals, supervisors, and su perintendents of Erie County, New York, who so willingly participated in this study; and to the jury of experts who assisted in validating the criteria. Finally, grateful ac knowledgment is due the writer’s wife, Betty, for constant inspiration and for the typing of the manuscript. i 803142 ii TABLE OB’ CONTENTS c h a p t e r p a g e I.-THE NEED FOR A MORE VITAL EDUCATION ...... 1 THE STUDY, DEFINITIONS OF TERMS, AMD RELATED STUDIES . ....................... 9 THE S T U D Y .......................... 9 Setting of the study......................... 9 Purpose of the study.............. 9 Importance of the study .............. 10 Method of the study ............................ 10 Limitations of the study........................ 12 DEFINITIONS OF TERMS ......................... -
Michael Isaacson Collection
MICHAEL ISAACSON COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Gail E. Lowther, spring-summer 2018 1 Photograph of Michael Isaacson with Samuel Adler (ca. 1972). Photograph by Louis Ouzer, from Michael Isaacson Collection, Box 31, Folder 13 Photograph of Michael Isaacson conducting the Israel Pops Orchestra during recording session for the Museum of Jewish Heritage (1997). From Michael Isaacson Collection, Box 31, Folder 14. 2 TABLE OF CONTENTS Description of Collection . 5 Description of Series . 8 INVENTORY Series 1: Manuscripts and Sketches Sub-series A: Numbered Works . 14 Sub-series B: Orchestral Arrangements . 58 Sub-series C: Unnumbered Manuscripts . 62 Series 2: Papers Sub-series A: Correspondence. 95 Sub-series B: Composition Projects . 101 Sub-series C: Lectures and Pedagogical Materials . 119 Sub-series D: Writings . 124 Sub-series E: Professional Papers . 128 Sub-series F: Milken Papers . 159 Sub-series G: Milken Recording Project . 166 Sub-series H: Photographs and Images . 174 Series 3: Publicity and Press Materials Sub-series A: Scrapbooks . 179 Sub-series B: Concert Programs . 187 Sub-series C: Press Clippings . 190 Series 4: Library Sub-series A: Study Scores . 200 3 Sub-series B: Literature. 232 Series 5: Audio-Visual Materials Sub-series A: 5” Reel-to-Reel Audio Tapes . 233 Sub-series B: 7” Reel-to-Reel Audio Tapes. 233 Sub-series C: 10.5” Magnetic Tape. 236 Sub-series D: 12” LPs . 236 Sub-series E: 7” EPs . 237 Sub-series F: Cassette Tapes . 238 Sub-series G: Compact Discs (CDs) . 253 Sub-series H: Digital Audio Tapes (DATs) . -
"The Bohemians" (New York Musicians' Club) : a Historical
ML A/S" """"^ "^"^ ML 28.N5B64" ^''niiBMiWiil!!™,.,!'''** ^'"* mu'lcians' clu 3 1924 022 246 346 CORNELL UNIVERSITY LIBRARY MUSIC Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022246346 Cl^orneU HntoetHitg ffiihratg JIttiata, STetP ^atk ^ Rafael Joseffy "THE BOHEMIANS" {New York Musicians' Club) A HISTORICAL NARRATIVE AND RECORD Written and Compiled for the Celebration of the Fifteenth Anniversary of The Foundation of The Club By H. E. KREHBIEL NEW YORK, DECEMBER 1921 Franz Kneisel, President Vice-Presidents Rubin Goldmark Sigmund Herzog Abraham W. Lilienthal Ernest T. Carter, Secretary Hugo Grunwald, Treasurer BOARD OF GOVERNORS Walter L. Bogert Edouard Dethier George Hnnili William H. Humiston Ernest Hulcheson Gardner Lamson Cornelius Rybner Herbert Witherspoon • I THE STORY OF THE BOHEMIANS 'Tis written: "In the Beginning was the Word." Here am I balked: who now can help afford? The WORD?—impossible so high to rate it; And otherwise must I translate it. If by the Spirit I am truly taught. Then thus : "In the Beginning was the THOUGHT," This first line let me weigh completely. Lest iriy im,patient pen proceed too fieetly. Is it the THOUGHT which works, creates, vndeed? "In the Begimrdng was the POWER," I read. Yet, as I write, a warning is suggested That I the sense may not have fairly tested. The Spirit aads me: now I see the light I "In the beginning was the ACT," I write. -—Goethe, "Faust," Scene III, HE problem which vexed the mind of Fav^t, pondering the philosophy formulated at the outset of The Gospel according to St.