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ROBERT BLACK, Pianist ROGER SESSIONS MIRIAM GIDEON
ROBERT BLACK, pianist Photo by Jane Hamborsky ROGER SESSIONS FIVE PIECES FOR PIANO (1974-75) ROGER SESSIONS (b. 1896, Brooklyn, New York) entered Harvard at the age of 14, and while there managed the footbal l team; he did graduate work with Horatio Parker at Yale. His subsequent studies, probably the most important to his development, were with Ernest Bloch. In his career as a composer and a teacher, Sessions has continued the 'great line' of European composers in its translation to the American musical community. Much of his early career was spent in Europe; after his return to this country, he profoundly influenced generations of students at Princeton, Berkeley and at Juilliard. The FIVE PIECES FOR PIANO were written in 1974 and 1975, thus coming between the cantata, When Lilacs Last in the Dooryard Bloomed , and the Ninth Symphony. In this ordered group, pieces I and V are linked by the slower tempo of their finely-worked counterpoint and their symmetrical forms and pro- cedures; II and IV share a brilliant agitato character and the scherzando, Ill, stands in the center. It was while writing piece IV, having completed the rest of the group, that Sessions heard of the death of a close friend and colleague. The brief tranquillo section which begins at the thirteenth bar marks this exact moment compositionally, and the entire group is inscribed "to the memory of Luigi Dallapiccola." - by Alan Fletcher MIRIAM GIDEON SONATA FOR PIANO (1977) MIRIAM GIDEON, born in Greeley, Colorado, has composed in all media. Her orchestral, chamber, and solo works have been performed and recorded in the U.S.A., Europe, and the Far East. -
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. -
Washington State University Ninety-Second Annual Commencement
WASHINGTON STATE UNIVERSITY NINETY-SECOND ANNUAL COMMENCEMENT May 7, 1988 Appc,JrJncc of :,1 narnc on thh progr;.un i,r,; prcs"i.11nptivc evidence (Jf gr:,~du;,1tiun ancl gr:,ldu.:r.Hion houors .. bur if n1usr. no!. in ;u1y sense he n-·g~1rdcd :.i.s conclusive. Tl1c dip(oni;i {){" 1"l'lc un..i1 1 (::r:-iiry) !•;.igni:·d ;ind ~1c11Jc(] by ii:; proper i..>\\iccrs, reiT\~-lin,•~ ihc ()('fici;l.l tc·stirnuny of i 1·1e 1·ios-1;css!on of rh,-· c!cgrcc The Commencement Procession Order of Exercises Presiding-Dr. Samuel Smith, President Processional Candidates for Advanced Degrees Washington State University Wind Symphony Professor L. Keating Johnson, Conductor University Faculty Posting of the Colors Regents of the University Army ROTC Color Guard The National Anthem Honored Guests of the University Washington State University Wind Symphony Dr. Jane Wyss, Song Leader President of the University Invocation Reverend Graham Owen Hutchins Simpson United Methodist Church Introduction of Commencement Speaker Dr. Samuel Smith Commencement Address The Honorable Thomas S. Foley President's Faculty Excellence Awards Dr. Albert C. Yates Executive Vice President and Provost Instruction: Gerald L. Young Research: Linda L. Randall Public Service: Thomas L. Barton Festival March by Giacomo Puccini Washington State University Wind Symphony Bachelors Degrees Advanced Degrees Alma Mater The Assembly SPECIAL NOTE FOR PARENTS AND FRIENDS: Professional Recessional photographers will photograph all candidates as they receive their diploma covers from the deans at the all-university and Washington State University Wind Symphony college commencement ceremonies. A photo will be mailed to each graduate, and additional photos may be purchased at reasonable rates. -
Wwciguide May 2020.Pdf
From the President & CEO The Guide The Member Magazine Dear Member, for WTTW and WFMT Thank you for your viewership, listenership, and continued support of WTTW and Renée Crown Public Media Center 5400 North Saint Louis Avenue WFMT. Now more than ever, we believe it is vital that you can turn to us for trusted Chicago, Illinois 60625 news and information, and high quality educational and entertaining programming whenever and wherever you want it. We have developed our May schedule with this Main Switchboard in mind. (773) 583-5000 Member and Viewer Services On WTTW, explore the personal, firsthand perspectives of people whose lives (773) 509-1111 x 6 have been upended by COVID-19 in Chicago in FIRSTHAND: Coronavirus. This new series of stories produced and released on wttw.com and our social media channels Websites wttw.com has been packaged into a one-hour special for television that will premiere on wfmt.com May 18 at 9:00 pm. Also, settle in for the new two-night special Asian Americans to commemorate Asian Pacific American Heritage Month. As America becomes more Publisher diverse, and more divided while facing unimaginable challenges, this film focuses a Anne Gleason Art Director new lens on U.S. history and the ongoing role that Asian Americans have played. On Tom Peth wttw.com, discover and learn about Chicago’s Japanese Culture Center established WTTW Contributors Julia Maish in 1977 in Chicago by Aikido Shihan (Teacher of Teachers) and Zen Master Fumio Lisa Tipton Toyoda to make the crafts, philosophical riches, and martial arts of Japan available WFMT Contributors to Chicagoans. -
St. Louis Symphony Orchestra 2018/2019 Season at a Glance
Contacts: St. Louis Symphony Orchestra: Eric Dundon [email protected], (314) 286-4134 National/International: Nikki Scandalios [email protected], (704) 340-4094 ST. LOUIS SYMPHONY ORCHESTRA 2018/2019 SEASON AT A GLANCE Season highlights include: • Music Director Designate Stéphane Denève conducts four weeks at Powell Hall, with a wide range of repertoire including works by Berlioz, Brahms, Lieberson, Mozart, Prokofiev, Ravel, Scriabin, Vaughan Williams, Wagner, and the SLSO premiere of Esa-Pekka Salonen’s Nyx. • Resident Conductor Gemma New leads the season-opening concert, including the SLSO premiere of Aaron Jay Kernis’ Musica celestis, along with Sibelius’ Finlandia and Elgar’s Enigma Variations. She leads a second concert including the SLSO premiere of Thomas Adès’ Three Studies from Couperin. • Marking the 50th anniversary of his SLSO debut, Conductor Laureate Leonard Slatkin leads two weeks of concerts, including a program of Leonard Bernstein’s “Kaddish” Symphony, Rachmaninoff’s First Piano Concerto, and the SLSO premiere of Loren Loiacono’s Smothered by Sky. His second program features Barber’s Symphony No. 1, Tchaikovsky’s Sixth Symphony, and the world premiere of an SLSO-commissioned work by Emmy Award-winning composer Jeff Beal, known for his music from the Netflix series House of Cards. • Conductors Karina Canellakis, Michael Francis, Gustavo Gimeno, Jakub Hrůša, and Matthias Pintscher make their SLSO debuts; returning guest conductors include Matthew Halls, Hannu Lintu, Jun Märkl, Cristian Măcelaru, Nicholas McGegan, Peter Oundjian, Nathalie Stutzmann, John Storgårds, Bramwell Tovey, and Gilbert Varga. • World premieres of two SLSO-commissioned works, Christopher Rouse’s Bassoon Concerto and a composition by Jeff Beal, along with a U.S. -
Univeristy of California Santa Cruz Cultural Memory And
UNIVERISTY OF CALIFORNIA SANTA CRUZ CULTURAL MEMORY AND COLLECTIVITY IN MUSIC FROM THE 1991 PERSIAN GULF WAR A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by Jessica Rose Loranger December 2015 The Dissertation of Jessica Rose Loranger is approved: ______________________________ Professor Leta E. Miller, chair ______________________________ Professor Amy C. Beal ______________________________ Professor Ben Leeds Carson ______________________________ Professor Dard Neuman ______________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Jessica Rose Loranger 2015 CONTENTS Illustrations vi Musical Examples vii Tables viii Abstract ix Acknowledgments xi CHAPTER 1: INTRODUCTION 1 Purpose Literature, Theoretical Framework, and Terminology Scope and Limitations CHAPTER 2: BACKGROUND AND BUILDUP TO THE PERSIAN GULF WAR 15 Historical Roots Desert Shield and Desert Storm The Rhetoric of Collective Memory Remembering Vietnam The Antiwar Movement Conclusion CHAPTER 3: POPULAR MUSIC, POPULAR MEMORY 56 PART I “The Desert Ain’t Vietnam” “From a Distance” iii George Michael and Styx Creating Camaraderie: Patriotism, Country Music, and Group Singing PART II Ice-T and Lollapalooza Michael Franti Ani DiFranco Bad Religion Fugazi Conclusion CHAPTER 4: PERSIAN GULF WAR SONG COLLECTION, LIBRARY OF CONGRESS 116 Yellow Ribbons: Symbols and Symptoms of Cultural Memory Parents and Children The American Way Hussein and Hitler Antiwar/Peace Songs Collective -
Department of Music Programs 1983 - 1984 Department of Music Olivet Nazarene University
Olivet Nazarene University Digital Commons @ Olivet School of Music: Performance Programs Music 1984 Department of Music Programs 1983 - 1984 Department of Music Olivet Nazarene University Follow this and additional works at: https://digitalcommons.olivet.edu/musi_prog Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Department of Music, "Department of Music Programs 1983 - 1984" (1984). School of Music: Performance Programs. 17. https://digitalcommons.olivet.edu/musi_prog/17 This Book is brought to you for free and open access by the Music at Digital Commons @ Olivet. It has been accepted for inclusion in School of Music: Performance Programs by an authorized administrator of Digital Commons @ Olivet. For more information, please contact [email protected]. EDUCATION WITH A CHRISTIAN PURPOSE Department of Music Programs 1983-1984 Olivet Hozarene College Kankakee, Illinois 60901 Telephone 815-939-5011 Olivet Nazarene College Artist Lecture Series presents GUEST RECITAL LOLA AUSTIN, P iano Fantasia in D Minor ...................................... W.A. Mozart (1756-1791) Andante Favori.................................... L. Van Beethoven (1770-1827) Sonata in C Major, Op. 5 3 ......................L. Van Beethoven "Waldstein" Movement 1. Allegro con brio Movement 2. Adagio Movement 3. Allegretto INTERMISSION Scherzo in B flat Minor Op. 3 1 ........................... F. Chopin (1810-1849) Nocturne in C sharp Minor Op. post ................... F. Chopin Three Etudes: A flat Major Op. 25, No. 1 ............. F. Chopin G. flat Major Op. 10, No. 5 C Minor Op. 25, No. 12 Fountains at the Villa d'este........................... Franz Liszt (1811-1886) L i t a n y .............................................. Schubert - Liszt Legende: St. Francis Walking on the Water ... -
Composing Freedom: Elliott Carter's 'Self-Reinvention' and the Early
Composing Freedom: Elliott Carter’s ‘Self-Reinvention’ and the Early Cold War Daniel Guberman A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2012 Approved By, Brigid Cohen, chair Allen Anderson Annegret Fauser Mark Katz Severine Neff © 2012 Daniel Guberman ALL RIGHTS RESERVED ii ABSTRACT DANIEL GUBERMAN: Composing Freedom: Elliott Carter’s ‘Self-Reinvention’ and the Early Cold War (Under the direction of Brigid Cohen) In this dissertation I examine Elliott Carter’s development from the end of the Second World War through the 1960s arguing that he carefully constructed his postwar compositional identity for Cold War audiences on both sides of the Atlantic. The majority of studies of Carter’s music have focused on technical aspects of his methods, or roots of his thoughts in earlier philosophies. Making use of published writings, correspondence, recordings of lectures, compositional sketches, and a drafts of writings, this is one of the first studies to examine Carter’s music from the perspective of the contemporary cultural and political environment. In this Cold War environment Carter emerged as one of the most prominent composers in the United States and Europe. I argue that Carter’s success lay in part due to his extraordinary acumen for developing a public persona. And his presentation of his works resonated with the times, appealing simultaneously to concert audiences, government and private foundation agents, and music professionals including impresarios, performers and other composers. -
Getting Over the Shock of the New
GETTING OVER THE SHOCK OF THE NEW CONTEMPORARY IS SYMPHONIC MUSIC Thomas Dausgaard conducts the Seattle Symphony GETTING OVER THE SHOCK OF THE NEW AGE COMING OF BY GREG CAHILL here is a creepy bloodlust to orchestra will premiere the rest of the it,” he says. “That alertness to what the com- the doom-mongering of clas- works in future seasons. poser actually wrote, rather than what might sical music, as though an Indeed, a look at major orchestras around have become standard practice, is an inspira- “T autopsy were being con- the United States shows that contemporary tion for me when working on music by dead ducted on a still-breathing body,” William symphonic works are slowly, but surely, mak- composers we can no longer ask questions of. Robin wrote in the New Yorker in a 2014 ing inroads into program schedules. For So much of what we perform is written by article about perpetual reports of the example, subscribers to the Chicago Sym- people long gone; it can be frustrating never genre’s death. “What if each commentator phony Orchestra’s 2020–21 season can to be able to ask them, never to see how their decided, instead, to Google ‘young com- expect a generous serving of Brahms, Cho- faces light up when they hear their music poser’ or ‘new chamber ensemble’ and write pin, Schubert, Schumann, Debussy, Ravel, coming to life. a compelling profile of a discovery?” and Scriabin. But the orchestra also will per- “So what a joy it is as performer and audi- That’s good advice, especially since form two world premieres of CSO-commis- ence to be around living composers and young composers are providing an infusion sioned works by American composer Gabriela enrich the experience of hearing and per- of new blood into the modern orchestra. -
The Evolution of Elliott Carter's Rhythmic Practice Author(S): Jonathan W. Bernard Source: Perspectives of New Music, Vol. 26, No
The Evolution of Elliott Carter's Rhythmic Practice Author(s): Jonathan W. Bernard Source: Perspectives of New Music, Vol. 26, No. 2 (Summer, 1988), pp. 164-203 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833189 Accessed: 07/02/2010 18:10 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=pnm. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music. http://www.jstor.org THE EVOLUTIONOF ELLFTOTTCARTER'S RHYTHMICPRACTICE JONATHANW. BERNARD INTRODUCTION ELLIOTT CARTER'SWORK over the past forty years has made him per- haps the most eminent living American composer, and certainly one of the most important composers of art music in the Western world. -
Boston Symphony Orchestra Concert Programs, Season 119
S E I J I O Z A W A MUSIC Dl R ECTO R * *r u u -- w la BQS TO N <_' M-Tiir—H i>— 'ts^c»»-- YMPHONY TESTRA IV 1* 3^ J >' . <i , ^ Yx 1QQQ-20U SEASON m 'JGV&V . iifUB96fsi\SBi1l Ju p-m .*;.•. • Bring your Steinway: ^iJn&f^&dB^i SH9B £99 ftU H r*i nl ^5 raj C$8 BB **CSv 1111tr/SBl Wft/i /7(w p/tfHS /row acre gated community atop I * 1 if* 2,100 to 5,000 square feet, prestigious Fisher Hill IBB 1 -4 8? bW3I |H -A> 1 «£[i you can bring your Concert Jointly marketed by Sotheby's • v* V . 1 wSi - 1 Grand to Longyear. International Realty and bbbbb^Bf 1 Hi Bfcg .••**-i *Djjy You 11 be enjoying full-service, Hammond Residential Real Estate. » < mnn^H tU EbbbbbbbI BBB BB r*2*». <* single-floor condominium living at Priced from $1,400,000. ill V BBl Pa ?f^tla( Efl^srvrf £SnA >»'i3 its absolute finest all harmoniously Call Hammond Real Estate at qkS mi nfit *lr SlSS ^« located on an extraordinary eight- 731-4644, ext 410. Kp '^.CyS (617) H 1 jUm£' TSW 1 ISIl J<*S uJme BEI jSbbbSHI BBj ttLZMt ' 1 t^ |PKJt£ rtw^ CTJspt flSj BJ '^**v£5 BBB^ttBl LONGYEAR rftrTh v*v-H>''^\1k f$Xsp •xJK ^8 bbbvAWIH * *» > H a/ Lr/sner Jiill S& BROOKLINE \ B^L^LH 1 • ,*/* ^*$£j Bh HflH fci/TE li PrEJj fSm SlawS a^ySwaNi fjySjji jjBJy >k''s *! {MR ^>»~#*5S$Z, • '.?-v. -
Frank Mallory
Curriculum Vitae August 24, 2014 Frank B. Mallory W. Alton Jones Research Professor of Chemistry Bryn Mawr College, 101 N. Merion Avenue, Bryn Mawr, Pennsylvania 19010-2899 Phone: (610)-526-5105 Fax: (610)-526-5086 E-mail: [email protected] Undergraduate Education B.S. summa cum laude, Yale University, 1954 Chemistry major, mathematics minor Research with Professor Werner Bergmann Graduate Education Ph.D. California Institute of Technology, 1958 Chemistry major, physics minor, Dissertation research with Professor John D. Roberts Honors and Awards Phi Beta Kappa, Yale University, 1954 NSF Predoctoral Fellow, California Institute of Technology, 1954-1955 General Electric Company Fellow, California Institute of Technology, 1956-1957 John Simon Guggenheim Memorial Foundation Fellow, 1963-1964 Alfred P. Sloan Research Fellow, 1964-1966 and 1966-1968 Bond Award of the American Oil Chemists' Society, 1970 NSF Senior Postdoctoral Fellow, 1970-1971 American Chemical Society Philadelphia Section Award for Distinguished Research, 1989 Christian R. and Mary F. Lindback Foundation Award for Distinguished Teaching, 1992 Philadelphia Organic Chemists’ Club Award for Distinguished Research, 2000 Fellow of the Inter-American Photochemistry Society Award for Lifetime Achievements in and Contributions to the Photochemical Sciences, 2006 American Chemical Society Award as an ACS Fellow for contributions to science and the profession, 2014 Bryn Mawr College Appointments Assistant Professor of Chemistry, 1957-1963 Associate Professor of Chemistry, 1963-1969