American Heritage Center 2009-2010 Annual Report

Total Page:16

File Type:pdf, Size:1020Kb

American Heritage Center 2009-2010 Annual Report Non-Profit Organization American Heritage Center U.S. Postage PAID Dept. 3924 Great Falls, MT 1000 E. University Ave. Permit NO. 151 Laramie, WY 82071 American Heritage Center 2009-2010 Annual Report THE AMERICAN HERITAGE • Outstanding curricular • An active program of outreach CENTER is the repository for the support at both the and service to the state, I N C O M E University of Wyoming’s (UW) undergraduate and graduate including K-12 teachers and SOURCES AMOUNT special collections and archives, levels, in an unusually wide students, promoting historical State Appropriations 702,029 including the university’s rare variety of departments and literacy, competence, and Patron (User) Services 42,312 books library and one of the largest colleges at the university, engagement. Anaconda 46,602 manuscript collections in the U.S. taking full advantage of the • A national model of collection Kuehn Endowment 149,494 breadth of our collections. development, management, Coe Endowment 248,125 AMERICAN HERITAGE CENTER OUR VISION • Personalized, connected and cataloging, statewide Simpson 80,971 Gift Account 38,342 Operating Budget The American Heritage Center instruction for students leadership on the complex History Day that introduces them to the issues surrounding electronic 19,138 July 1, 2009 - June 30, 2010 (AHC) aspires to be widely Grant 18,719 acknowledged—by the University intellectual, creative, and source material—their Other Project/Endowment Accounts 249,850 community, by the people of logistical challenges of doing generation, assessment, TOTAL $1,595,581 Wyoming, by scholars world- original research with primary preservation, and long-term wide, and by our professional sources. utility—and broad leadership • For faculty, a laboratory for in state and regional cultural E X P E N S E S peers—as one of the nation’s finest OPERATION/ interdisciplinary inquiry and and historical activities. special collections repositories, SALARY PROGRAMS TOTAL bringing international distinction an incubator for creative • The necessary archival and FUND EXPENSE COSTS EQUIPMENT EXPENSE to the University of Wyoming by teaching. records management expertise advancing scholarly research and • An unusually inviting to support the university’s State Appropriations 687,029 - 15,000 702,029 education at the university and atmosphere, welcoming obligation to be transparent Patron (User) Services 31,987 7,035 - 39,022 beyond. students, scholars, and the and accountable to the citizens Anaconda 10,976 6,029 - 17,005 public, and a service-oriented of Wyoming. Kuehn Endowment 6,067 71,259 2,249 79,575 OUR MISSION faculty and staff who are • Proper physical security and Coe Endowment 238,641 - - 238,641 enthusiastic and dedicated to environmental controls for our Simpson 70,921 8,172 - 79,093 To preserve a clearly defined set of Gift Account 9,181 10,457 - 19,638 primary sources and rare books— assisting researchers (novices collections, and conservation and experts alike) access, expertise for a variety of History Day 4,219 23,283 - 27,502 reflecting the written, image, and Grant 12,150 6,569 - 18,719 audio history of Wyoming, the understand, and appreciate our cultural collections on campus. Other Endowments and Rocky Mountain Region, and collections. Special Purpose Accounts 177,826 64,032 ____-___ 241,858 select aspects of the American • Wide recognition for the TOTAL $1,248,997 $196,836 $17,249 $1,463,082 past—and to make those sources university as a draw for accessible to all. Our diverse national and international Salary Expenses collections support casual inquiry researchers, as an active forum and international scholarship; most for scholarly discourse, and importantly, we play an active and as a respected contributor to Editor: Rick Ewig Operating and Equipment creative role in the teaching and public historical programming (such as documentaries); Expenses research missions of the University. Graphic Designer: Vicki Schuster State • A faculty and staff who are Private Income Sources Appropriations To fulfill our mission and achieve expert professionals and Photographer: Rick Walters Sector State Patron Appropriations our vision we will provide, and be educators—leaders in the (User) Services acknowledged as providing: North American archival and Grant special libraries professions; educators, who teach and • Clearly defined breadth in State our collections which, while present widely to a broad Private Appropriations Grant emphasizing the distinctive and diverse audience through Sector culture of the Mountain West, lectures, courses, symposia, Private will also reflect the rich array articles, and web sites, Patron (User) Services Sector of cultures that characterize and through the creation both the diversity of the of catalogs, guides, and curriculum and the broader exhibitions. Grant Patron world that our students will (User) Services enter. contact location: telephone numbers and hours: (Toppan Rare Books Library) 2111 Willett Drive e-mail: (Building) Monday-Friday: (Centennial Complex) 307.766.4114 (phone) Monday: 8:30 a.m. - 5 p.m. Laramie, WY 307.766.5511 (fax) 8 a.m. - 9 p.m. [email protected] (e-mail) Tuesday-Friday: Closed Saturday and Sunday mailing address: [email protected] 8 a.m. - 5 p.m. 1000 E. University Ave. (reference department) Dept. 3924 http://www.ahc.uwyo.edu Laramie, WY 82071 (web site) (Reference Department) Monday: 10 a.m. - 9 p.m. Tuesday-Friday: 8 a.m. - 5 p.m. table of contents • AHC Highlights 2 • Grants 22 • Research and Teaching 4 • Staff and Faculty 23 • Newly Digitized and Processed Collections 7 • Board of Advisors 26 • Public Programs and Activities 21 • Thank You 27 about the cover Front Cover: Cheer- Back Cover: Portrait leaders from Lara- of the newly married mie High School Mr. and Mrs. Daly posed for this pho- and their families tograph in 1927. after their wedding Ludwig-Svenson in Laramie in 1928. Studio Collection. Ludwig-Svenson Stu- This collection was dio Collection. digitized with a grant from the Wyoming Cultural Trust Fund. This year’s annual report features the AHC’s digital collections. For a number of years we have been actively digitizing some of our collections. During the past year, we completed large-scale digitization of three collections begun in previous years (the Moreton Frewen Papers, Ludwig-Svenson Studio Collection, and the Zdenek Salzmann Arapaho Indian research papers) and began scanning two additional large collections (Swan Company Records and Samuel H. Knight Collection), which will likely be completed in the coming year. In between, the AHC digitized a number of smaller collections and began making them accessible online via finding aid inventories. Four pioneer collections were digitized as part of our Westward Migration disk/website, which was created to support use of primary sources in middle and high school classrooms. This was done with the assistance American Heritage Center of a grant from the Gladys Keible Delmas Foundation grant. Three collections rich with information about Wyoming’s Johnson County War were scanned to facilitate access to these popular research items. A variety of other smaller collections were completed as well. In the coming year we plan to digitize significantly larger portions of our text-based collections, which will be enabled by the purchase of a new high-output scanner that will dramatically decrease the time it takes to scan collection material. A generous donation allowed us to purchase the scanner. We also have received a grant to digitize 2009-2010 Annual Report more of our finest Wyoming photographic collections. The grant is from the Wyoming Cultural Trust Fund. 1 AHC Highlights am absolutely delighted, and extremely proud, Award these 22 separate individuals had to work as to be able to announce that in August the AHC a team (sometimes as several interconnecting teams) was awarded the most prestigious honor in our to insure the AHC met its sometimes formidable professionI for an archives repository, the Society of goals. We have, I am happy to say, no prima donnas American Archivists’ Distinguished Service Award. here; though our employees are confident in their SAA describes the award this way: abilities they are committed to collaboration— and not only collaboration within the Center, but [T]his award recognizes an archival institution also collaboration with individuals, institutions, education program, nonprofit organization, or and organizations outside as well. To cite just one governmental organization that has given outstanding example, currently four of our professionals serve on service to its public and has made an exemplary committees of the UW Libraries; three others serve contribution to the archival profession. The institution on a university-wide effort to develop policies for being nominated should have achieved distinction Mark Greene official email; and every single one serves on at least in one or more of the following ways: demonstrably one university-wide faculty committee. In short, I am contributing to archival theory and the development privileged to work with the best of the best, and the of new archival practice; serving its constituency SAA award confirms my opinion. in an outstanding fashion; showing extraordinary The SAA award also signifies that the Center has ingenuity and resourcefulness in improving efficiency done an extraordinary job of setting, prioritizing, of operations or improving methods of work; going well beyond the normal performance requirements and accomplishing strategic goals for many
Recommended publications
  • An Analysis of Honegger's Cello Concerto
    AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S
    [Show full text]
  • December 1940) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 12-1940 Volume 58, Number 12 (December 1940) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 58, Number 12 (December 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/59 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. —— THE ETUDE Price 25 Cents mueie magazine i — ' — ; — i——— : ^ as&s&2i&&i£'!%i£''££. £&. IIEHBI^H JDiauo albums fcj m Christmas flarpms for JfluStc Jfolk IS Cljiistmas iSnraaiitS— UNTIL DECEMBER 31, 1940 ONLY) (POSTPAID PRICES GOOD CONSOLE A Collection Ixecttalist# STANDARD HISTORY OF AT THE — for £111 from Pegtnner# to CHILD’S OWN BOOK OF of Transcriptions from the Masters Revised Edition PlAVUMfl MUSIC—Latest, GREAT MUSICIANS for the Pipe Organ or Electronic DECEMBER 31, 1940 By James Francis Cooke Type of Organ Compiled and MYllfisSiiQS'K PRICES ARE IN EFFECT ONLY UP TO By Thomas
    [Show full text]
  • Cultural Influences of Organ Music Composed by African American Women Author(S): Carol Rittersource: College Music Symposium , Vol
    Cultural Influences of Organ Music Composed by African American Women Author(s): Carol RitterSource: College Music Symposium , Vol. 55 (2015) Published by: College Music Society Stable URL: https://www.jstor.org/stable/10.2307/26574395 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]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms College Music Society is collaborating with JSTOR to digitize, preserve and extend access to College Music Symposium This content downloaded from 86.59.13.237 on Thu, 08 Jul 2021 11:46:58 UTC All use subject to https://about.jstor.org/terms Cultural Influences of Organ Music Composed by African American Women Carol Ritter Volume 55 2015 Cultural Influences on Organ Music Written By African American Women 1 Abstract In this paper, major events in African American history are described and contrasted with the history of organ music written by African American women in the twentieth- and the twenty-first centuries. The discussion includes the emergence of women's rights, especially women composers. The author traces the beginnings of African American women composers from church music to all other forms of musical performance. Included in the paper are the history, works, and styles of Florence Price (1887-1953), Undine Smith Moore (1905-1989), Zenobia Powell Perry (1908-2004), Betty Jackson King (1928-1994), Shirley Scott (1934-2002), Judith Marie Baity (b.
    [Show full text]
  • Faurã©, Through Boulanger, to Copland: the Nature of Influence
    Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 4 Issue 1 Article 9 January 2011 Fauré, through Boulanger, to Copland: The Nature of Influence Edward R. Phillips [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Phillips, Edward R. (2011) "Fauré, through Boulanger, to Copland: The Nature of Influence," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 4 : Iss. 1 , Article 9. Available at: https://trace.tennessee.edu/gamut/vol4/iss1/9 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part III), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. FAURÉ, THROUGH BOULANGER, TO COPLAND: THE NATURE OF INFLUENCE EDWARD R. PHILLIPS Nymphs of the woods, Goddesses of the fountains, Expert singers of all nations, Change your voices, So clear and high, To cutting cries and lamentations Since Atropos, the very terrible satrap, Has caught in her trap your Ockeghem, True treasure of music . Dress in your clothes of mourning, Josquin, Piersson, Brumel, Compère, And cry great tears of sorrow for having lost Your dear father. n the late fifteenth century, Josquin set this text—“Nymphes des bois,” La déploration sur la I mort de Johannes Ockeghem—as a commemoration of the older composer, “le bon père” of Josquin and his contemporaries Brumel, Compère, and Pierre de la Rue.
    [Show full text]
  • The Music of Randall Thompson a Documented
    THE MUSIC OF RANDALL THOMPSON (1899-1984) A DOCUMENTED CATALOGUE By Carl B. Schmidt Elizabeth K. Schmidt In memory of RANDALL THOMPSON ' for VARNEY THOMPSON ELLIOTT (†) CLINTON ELLIOTT III EDWARD SAMUEL WHITNEY THOMPSON (†) ROSEMARY THOMPSON (†) RANDALL THOMPSON JR. HAROLD C. SCHMIDT (†) and for E. C. SCHIRMER MUSIC COMPANY a division of ECS Publishing Group © 2014 by E. C. Schirmer Music Company, Inc., a division of ECS Publishing 1727 Larkin Williams Road, Fenton, MO 63026-2024 All rights reserved. Published 2014 Printed in the United States of America ISBN 978-0-911318-02-9 Library of Congress Cataloging-in-Publication Data Schmidt, Carl B. The music of Randall Thompson (1899-1984) : a documented catalogue / by Carl B. Schmidt [and] Elizabeth K. Schmidt. pages cm Includes bibliographical references and index. ISBN 978-0-911318-02-9 1. Thompson, Randall, 1899-1984--Bibliography. I. Schmidt, Elizabeth K. II. Title. ML134.T42S36 2015 016.78092--dc23 2014044640 Since I first went to Rome in 1922, Italian culture, the Italian people and the Italian language have been the strongest single influence on my intellectual and artistic development as a person and as a composer. So true is this that I cannot imagine what my life would be without all the bonds that bind me in loyalty and devotion to Italy and to my Italian friends. 13 June 1959 letter from Thompson to Alfredo Trinchieri Thompson always makes you think there is nothing as beautiful, as rich, or as varied as the sounds of the human voice. Alfred Frankenstein, San Francisco Chronicle (24 May 1958) It is one of the lovely pieces our country has produced, that any country, indeed, has produced in our century.
    [Show full text]
  • Arthur Honegger'in Müziği Ve Viyolonsel Konçertosu
    T.C. ULUDA Ğ ÜN İVERS İTES İ SOSYAL B İLİMLER ENST İTÜSÜ MÜZ İK ANASANAT DALI YAYLI ÇALGILAR SANAT DALI ARTHUR HONEGGER’ İN MÜZ İĞİ VE V İYOLONSEL KONÇERTOSU (YÜKSEK L İSANS SANAT ESER İ MET İN ÇALI ŞMASI) Ali Kaan KAPLAN BURSA - 2015 T.C. ULUDA Ğ ÜN İVERS İTES İ SOSYAL B İLİMLER ENST İTÜSÜ MÜZ İK ANASANAT DALI YAYLI ÇALGILAR SANAT DALI ARTHUR HONEGGER’ İN MÜZ İĞİ VE V İYOLONSEL KONÇERTOSU (YÜKSEK L İSANS SANAT ESER İ MET İN ÇALI ŞMASI) Ali Kaan KAPLAN Danı şman: Prof. İsmail GÖ ĞÜŞ BURSA - 2015 ÖZET Yazarın Adı ve Soyadı : Ali Kaan KAPLAN Üniversite : Uluda ğ Üniversitesi Enstitü : Sosyal Bilimler Enstitüsü Anasanat Dalı : Müzik Sanat Dalı : Yaylı Çalgılar Tezin/Çalı şmanın Niteli ği : Yüksek Lisans Sayfa Sayısı : xii+112 Mezuniyet Tarihi : .../..../2015 Tez Danı şmanı : Prof. İsmail GÖ ĞÜŞ ARTHUR HONEGGER’ İN MÜZ İĞİ VE V İYOLONSEL KONÇERTOSU Arthur Honegger, 20. yüzyılın bestecileri arasında, adı her ne kadar az telaffuz edilse de oldukça önemli bir yere sahiptir. Daha gençlik yıllarında önemli bir besteci olarak “Fransız Altıları”ndan birisi olmayı ba şarmı ştır. Ba şta Dmitri Shostakovich olmak üzere bazı bestecilere örnek olan Honegger, ya şamı boyunca ini şli-çıkı şlı dönemler ya şamı ş fakat her türlü durumda gererek büyük bir özveri ile çalışmı ş, sürekli eser üretmi ştir. Üretti ği eserlerde, birçok akımın özelliklerini kendi sanat vizyonu ile harmanlamı ş, klasik formlara yeni boyutlar kazandırmı ş ve kendi müzikal kimli ğini olu şturmu ştur. Hayranı oldu ğu Bach’ı ve Beethoven’ı sürekli olarak, Claude Debussy’yi de daha çok gençlik yıllarında örnek almı ştır.
    [Show full text]
  • Eastman Celebrates Debussy at 150 October 11–14, 2012
    EASTMAN NOTESSUMMER 2012 Eastman Celebrates Debussy at 150 October 11–14, 2012 • 50th reunion celebration Join your fellow (classes of 1961 and 1962) • Recognition of the 1961–62 Eastman Eastman alumni for Philharmonia European Tour • A tribute to Eastman’s legendary jazz a spectacular weekend! professor and renowned arranger, Rayburn Wright, and a reunion of his students Reunion class members, all alumni, • A Catherine Filene Shouse Arts parents, and families are welcome. Leadership Program (ALP) reunion • 20th anniversary celebration of Visit www.esm.rochester.edu/alumni/weekend Eastman’s guitar program for full information and regular updates! • Prismatic Debussy: Celebrate Debussy’s 150th birthday with an all-ensembles REGISTER BY OCTOBER 1, 2012 concert of his music in Kodak Hall { SUMMER 2012 } Before he was “Claude de France,” Debussy was a favorite son. The composer is shown here in a 1906 photograph with his mother, Victorine, and his father, Manuel-Achille. 3 Brief Notes 26 School News 30 Recordings 18 22 The Sound David 33 Celebrating Alumni Notes 10 World of Craighead 37 Debussy’s 150th a Baroque and Tributes, Master Zvi Zeitlin In Memoriam Extravagant, intimate, experimental, and more: Eastman explores the many Eastman Rochester A student and a 38 Organ Initiative colleague remember Faculty Notes facets of France’s great composer on his investigates J.S. Bach two legendary 39 150th birthday. and the organ. Eastman musicians. Student Notes 40 ON THE COVER: Our cover pays homage to Claude Debussy with a colorful collage by New York artist Doug Fitch From the Dean that brings together several Debussyan elements; see page 14 for a key.
    [Show full text]
  • KORNGOLD and HIS WORLD August 9–11 and 16–18, 2019
    SUMMERSCAPE KORNGOLD AND HIS WORLD August 9–11 and 16–18, 2019 BARD Vienna Secession. The building, dedicated in 1898, was designed by Joseph Maria Olbrich; the stalls in the central market extend as far as the Karlsplatz. Bruno Reiffenstein, 1899 KORNGOLD AND HIS WORLD August 9–11 and 16–18, 2019 Leon Botstein and Christopher H. Gibbs, Artistic Directors Daniel Goldmark and Kevin C. Karnes, Scholars in Residence 2019 Irene Zedlacher, Executive Director Raissa St. Pierre ’87, Associate Director Founded in 1990, the Bard Music Festival has established its unique identity in the classical concert field by presenting programs that, through performance and discussion, place selected works in the cultural and social context of the composer’s world. Programs of the Bard Music Festival offer a point of view. The intimate communication of recital and chamber music and the excitement of full orchestral and choral works are complemented by informative preconcert talks, panel discussions by renowned musicians and scholars, and special events. In addition, each season Princeton University Press publishes a book of essays, translations, and correspondence relating to the festival’s central figure. By providing an illuminating context, the festival encourages listeners and musicians alike to rediscover the powerful, expressive nature of familiar compositions and to become acquainted with less well-known works. Since its inaugural season, the Bard Music Festival has entered the worlds of Brahms, Mendelssohn, Richard Strauss, Dvorˇák, Schumann, Bartók, Ives, Haydn, Tchaikovsky, Schoenberg, Beethoven, Debussy, Mahler, Janácˇek, Shostakovich, Copland, Liszt, Elgar, Prokofiev, Wagner, Berg, Sibelius, Saint-Saëns, Stravinsky, Schubert, Carlos Chávez, Puccini, Chopin, Rimsky-Korsakov, and Korngold.
    [Show full text]
  • 1 ORGAN WORKS by COMPOSERS from AFRICA and the AFRICAN-DIASPORA BIBLIOGRAPHY: See Also Calvert Johnson, Compi
    1 ORGAN WORKS BY COMPOSERS FROM AFRICA AND THE AFRICAN-DIASPORA BIBLIOGRAPHY: see also www.agoatlanta.org Calvert Johnson, compiler (2013) AFRICAN-AMERICAN COMPOSERS Adams, H. Leslie (b. Cleveland, 1932). Infinitas (1999). ______. Offering of Love [Offertory] (1991). Westlake OH: HCM, 1992. In Abbington vol. 1. ______. Prelude & Fugue for Organ (1978). Pullman WA: Vivace Press, 1998. http://www.hleslieadams.com; http://chevalierdesaintgeorges.homestead.com/Adams.html ARCHIVES: Leslie Adams Music Archives, Special Collections, Cleveland Public Library EDUCATION: BME, Oberlin (1955), studying composition with Herbert Elwell and Joseph Wood; further private study with Robert Starer and Vittorio Giannini; MM, California State University-Long Beach (1967) studying composition with Leon Dallin and Robert Tyndall; PhD, Ohio State University (1973), studying with Marshall Barnes. CAREER: Choral director, Stillman College (AL); Pianist for dance companies (1957-62); High School teacher, Soehl Jr High, Linden NJ (1962-63); Associate Musical Director, Karamu House, Cleveland OH (1964-65); Music teacher, New Mexico School for Performing Arts, Raton NM (1966-67);Assistant Professor, Florida A&M University (1968); Associate Professor, Choral director, University of Kansas (1970-78); Composer-in- residence, Karamu House, Cleveland OH (1979-80); Scholar-in –residence, Rockefeller Foundation, Bellagio Italy (1979); Fellowship, Yaddo Artists Colony, Saratoga Springs (1980, 1984); Cleveland Foundation Fellow (1980); Jennings Foundation Fellow (1981); Guest composer, Cuyahoga Community College OH (1980); Composer-in residence, Cleveland Music School Settlement (1981-84, 1991); Founder and President, Accord Associates (1980-1986); Executive Vice-President, Composer-in-Residence, Accord Associates (1986-92); Artist-in-residence, Creative Arts (1997-present); National Association of Negro Musicians Composer Award (2004); Composer Legacy Award, National Opera Association (2006); Distinguished Alumnus Award, California State University, Long Beach (2006); Gems of Cleveland Award (2007).
    [Show full text]
  • Gustav Mahler's Third Symphony
    Gustav Mahler’s Third Symphony: Program, Reception, and Evocations of the Popular by Timothy David Freeze A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology) in The University of Michigan 2010 Doctoral Committee: Associate Professor Steven M. Whiting, Co-Chair Professor Albrecht Riethmüller, Freie Universität Berlin, Co-Chair Professor Roland J. Wiley Professor Michael D. Bonner Associate Professor Mark A. Clague © 2010 Timothy David Freeze All rights reserved To Grit ii ACKNOWLEDGMENTS The road leading to the completion of this dissertation was longer and more scenic than I ever intended it to be. It is a great pleasure to acknowledge here the many individuals and organizations that provided support and encouragement along the way. I am especially grateful to the co-chairs of my committee. Without the unflagging support of Steven M. Whiting, whose sage counsel on matters musical and practical guided me from start to finish, this project would not have been possible. I am equally indebted to Albrecht Riethmüller, whose insight and intellectual example were a beacon by whose light this dissertation took shape. I would also like to thank R. John Wiley, whose extensive and penetrating feedback improved the dissertation and my own thinking in countless ways, and Mark Clague and Michael Bonner, both of whom provided valuable comments on content and style. In Ann Arbor, I would like to acknowledge the support of the entire musicology faculty at the University of Michigan. Louise K. Stein gave helpful advice in the early stages of this project. In Berlin, I benefited from conversations with Federico Celestini, Sherri Jones, and Peter Moormann.
    [Show full text]
  • 1. Title Page
    MUSIC IN PUBLIC LIFE: VIENNESE REPORTS FROM THE ALLGEMEINE MUSIKALISCHE ZEITUNG, 1798-1804 A dissertation submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Carol Padgham Albrecht May 2008 Dissertation by Carol Padgham Albrecht B.A., North Texas State University, 1974 M.M., North Texas State University, 1980 Ph.D., Kent State University, 2008 Approved by _______________________________ , Chair, Doctoral Dissertation Committee _______________________________ , Members, Doctoral Dissertation Committee _______________________________ , _______________________________ , _______________________________ , Accepted by _______________________________ , Director, Hugh A. Glauser School of Music _______________________________ , Dean, College of the Arts ii TABLE OF CONTENTS Page APPROVAL PAGE . ii TABLE OF CONTENTS . iii PREFACE . iv ACKNOWLEDGEMENTS . xiv CHAPTER I. VOLUME I: OCTOBER 3, 1798-SEPTEMBER 25, 1799 . 1 II. VOLUME II: OCTOBER 1, 1799-SEPTEMBER 24, 1800 . 28 III. VOLUME III: OCTOBER 1, 1800-SEPTEMBER 23, 1801 . 41 IV. VOLUME IV: OCTOBER 1, 1801–SEPTEMBER 22, 1802 . 103 V. VOLUME V: OCTOBER 1, 1802-SEPTEMBER 21, 1803 . 116 VI. VOLUME VI: OCTOBER 1, 1803-SEPTEMBER 26, 1804 . 170 APPENDIXES A. VIENNA HOFTHEATER SALARY LISTINGS, COMBINED CASTS . 231 B. GERMAN OPERAS GIVEN IN THE COURT THEATER, 1798-1800 . 233 C. ITALIAN OPERAS GIVEN IN THE COURT THEATER, 1798-1800 . 234 BIBLIOGRAPHY . 236 iii PREFACE The Allgemeine musikalische Zeitung (General
    [Show full text]
  • By James O'leary
    by James O'Leary A thesis submitted in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Honors in the Department of Music WILLIAMS COLLEGE Williamstown, Massachusetts May 20,2004 Nothing happens in a vacuum, including theses. First, I need to thank my friends who have endured ceaseless talk of Ravel, Surrealism, and deadlines. Jacob, Lili, Laura, and Liz have not only offered brilliant suggestions, but have also offered steadfast support (and a welcome willingness to procrastinate at the drop of a hat). Second, I must express sincere appreciation to Professor Hirsch, Professor Bloxam, and Professor Newman who have spent so much time offering their invaluable advice, be it on tackling Piano Concertos, pronouncing umlauts, or handling the senior year jitters. To my family, who hears it the least but deserves it the most, I owe undying gratitude. They have made many sacrifices so I could attend Williams, and throughout my four years they have been unshakably supportive and generous. Mom, Dad, Mike, Scott- thank you. Finally, I owe infinite gratitude to Professor Sheppard. Brilliant, kind, and inspiring, Professor Sheppard has completely reshaped the way I hear music in just four fast years, broadening my musical knowledge to include vastly different artistic movements and a wide array of different cultures. He has burst my musical vacuum, expanding my perspective to include a variety of music from Monteverdi to Joni Mitchell to Messiaen-and of course, Ravel. Furthermore, he has been incredibly generous with his advice, not only in advising this thesis while on leave, but still somehow managing to sacrifice his time to offer precious guidance about graduate school and senior year.
    [Show full text]