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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing In this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Ifowell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages with slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI JANICE HARSANYI; PROFILE OF AN ARTISTATEACHER D.M.A. DOCUMENT Presented in Partial Fullfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School at The Ohio State University by Eric Hoy Tucker, B.M., M.M. **** The Ohio State University 1998 D.M.A. Document Committee: Approved by: V l i t Dr. Charles Patrick Woliver, Adviser Dr. John Robin Rice Adviser Professor Loretta Robinson School of Music UMI Number: 9833937 UMI Microform 9833937 Copyright 1998, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ABSTRACT When considering musicians who have combined a highly successful performing career with an equally successful academic teaching career in the 20^ centuiy. the professional life of Janice Harsanyi should be considered as one of the longest and most prolific. Not only has Harsanyi maintained a career that exemplifies the Artist/Teacher profession, but she has also made many significant contributions to the musical scene of the 20*^ Century. Harsanyi enjoyed a professional singing career that began in 1954 and continued well into the early 1990s. During a forty-two year professional singing career, she has sung in forty -four states and six European countries. At the height of her career, during the 1960s and the 1970s, Harsanyi was performing over ninety concerts a year! These figures by themselves represent a very successful career of which many professional singers would be envious. However, throughout her entire performing career, 1951 to the present, Harsanyi’s teaching record in academe has been equally impressive as she has taught at four of the most prestigious schools of music in the United States. By making a chronicle of the concert and teaching career of Janice Harsanyi, this study documents a career filled with many achievements both in academe and in the professional performing world that may well serve as a reference for those individuals who aspire to an Artist/Teaching career. By documenting certain aspects of her career, this document will also show her contributions to the musical world of the 20* centur\'. Ill Miacara, Tona ACKNOWLEDGMENTS I would like to take this opportunity to express my gratitude to a host of individuals without whom the writing of this document would have been impossible. 1 wish to thank Janice Harsanyi for allowing me access to anything concerning her life. She made her private letters, recordings, reviews, and scrapbooks totally available to me. During my interviews with her, she never backed away from a question regardless of how painful the memories were of a given situation. She is truly a lady of grace, class, and professionalism and is a credit to either of the careers in which she has been so successful. Kenneth Wight is a retired recording engineer from Princeton, New .lersey who recorded many of Harsanyi's early performances. He mailed me all of his archival recordings at my request with the trust that 1 would return them to him. Similarly, The University of Michigan provided me with many Harsanyi performances at a minimal cost. Dr. Robert Taylor in The Ohio State University Music Library has graciously allowed me access to any of the recording equipment that the library owns. His wealth of knowledge concerning recording techniques and music history have been invaluable. 1 would like to express my sincere gratitude to the members of my D.M.A. committee for their belief in the importance of the material contained in this document; Dr. Patrick Woliver, adviser. Dr. John Robin Rice, and Professor Loretta Robinson. One of my primary concerns with the musical world is that we sometimes are not concerned with our history nor do we totally understand its relevancy. In their support of this document, my committee members have demonstrated their commitment to the histoiy of the art form. Aside from their support of the document, these three people have been instrumental in my development as a teacher, performer, and individual. Dr. Rice has been responsible for my learning a great deal about the voice and its pedagogy. My initial attraction to The Ohio State University was the outstanding reputation of Dr. Rice’s private teaching. The benefits of his teaching are represented by my singing and in the way 1 teach others. VI Professor Robinson has constantly reminded me of the balance between ego and competency that is imperative to a fine teaching career and more importantly, a satisfying life. Her words have not gone unheeded. Lastly, Dr. Woliver has taught me the values of honesty and ethics crucial to a career in academe. Rather than lecture me on these virtues, he has demonstrated them by his example. I also must thank him for his dedication to work intensely on this degree in order that 1 might graduate in a timely manner. 1 wish to thank the entire voice faculty at The Ohio State University for awarding me financial assistance in the form of a Graduate Teaching Associate Award during my three year tenure here. Without this assistance this degree would have been impossible to realize. Finally, all my work would be in vain if it were not for the love and dedication of my dearest Antoinette. In a world generally governed by self, my wife has chosen a most selfless life in order that her husband’s goals might be realized first. Although we share equal talents and abilities, she has VII sacrificed her goals in order to accommodate those of her husband. Within the realm of God’s grace, 1 have the rest of my life to repay a debt of gratitude owed to her. Habe dank! Vlll VITAE 1967 ..............................................Bom - Fairmont, West Virginia 1990 ..............................................B.M.E. The Florida State University Tallahassee, Florida 1992 ..............................................M.M. The University of Illinois Champaign-Urbana, Illinois 1995-1998 ....................................Graduate Teaching Associate, The Ohio State University Columbus, Ohio FIELDS OF STUDY Major Field; Music Studies in: Voice, Vocal Pedagogy, Vocal Literature, Opera Workshop, Music History IX TABLE OF CONTENTS PAGE ABSTRACT.................................................................................................... ü ACKNOWLEDGMENTS............................................................................ v VITAE............................................................................................................. ix PREFACE...................................................................................................... 1 CHAPTER 1. INTRODUCTION................................................................ 5 1.1 BIOGRAPHICAL INFORMATION...................... 5 1.2 FORMAL EDUCATION......................................... 7 2. THE PRINCETON YEARS (1950 - 1970) .................... 14 2.1 TEACHING CAREER............................................. 14 2.2 PERFORMING CAREER....................................... 22 2.3 20"^ CENTURY MUSIC.......................................... 53 3. NORTH CAROLINA SCHOOL OF THE ARTS (1970 - 1978)..................................................................................... 62 3.1 TEACHING CAREER............................................. 62 3.2 PERFORMING CAREER....................................... 67 3.3 20* CENTURY MUSIC .......................................... 78 4. THE FLORIDA STATE YEARS (1978-PRESENT)... 80 4.1 TEACHING CAREER............................................... 80 4.2 PERFORMING CAREER......................................... 84 4.3 20* CENTURY MUSIC ............................................ 93 5. HARSANYTS REFLECTIONS ON MUSIC TODAY.. 95 5.1 BALANCING TWO CAREERS ............................. 95 5.2 THE SONG RECITAL ............................................... 98 5.3 CONCLUSION .........................................................
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  • 1St Connection Between Baseball and Opera

    1St Connection Between Baseball and Opera

    Baseball & Opera (compiled by Mark Schubin, this version posted 2014 April 14) 1849 : 1 st connection between baseball and opera: Fans of American actor Edwin Forrest, who is playing Macbeth in New York, hire thugs from among ballplayers at Elysian Fields in Hoboken, New Jersey (1 st famous ball field) to disrupt performances of British actor William Macready, also playing Macbeth in New York at what had been Astor Opera House. Deadly riot ensues; Macready is rescued by ex-Astor Opera House impresario Edward Fry, who later (1880) invents electronic home entertainment (and probably headphones) by listening to live opera by phone. 1852: Opera-house exclusivity dispute with composer’s niece Johanna Wagner forms legal basis of baseball’s reserve clause. 1870 : Tony Pastor’s Opera House baseball team is covered by The New York Times (they won). 1875 : San Francisco Chronicle reports on that city’s opera-house baseball team. 1879 : Pirate King role created for Signor Brocolini, who, as John Clark, played first base for the Detroit Base Ball Club. 1881 : Dartmouth College opera group performs to raise money for college’s baseball team. 1884 : Three telegraph operators, James U. Rust, E. W. Morgan, and A. H. Stewart, present live games remotely. One sends plays from ballpark, second receives and announces, third moves cards with players’ names around backdrop. Starting in Nashville’s 900-seat Masonic Theater, they soon move to 2,500-seat Grand Opera House, beginning half-century of remote baseball game viewing at opera houses (also Augusta, GA Grand Opera House starting 1885). 1885 : The Black Hussar is probably 1 st opera with baseball mentioned in its libretto (in “Read the answer in the stars”).