DOCSLIB.ORG

Volume 61, Number 12 (December 1943) James Francis Cooke

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 12-1943 Volume 61, Number 12 (December 1943) James Francis Cooke Follow this and additional works at: http://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship 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 61, Number 12 (December 1943)." , (1943). http://digitalcommons.gardner-webb.edu/etude/62 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]. December THE ETUDE 1943 Price 25 music magazine ;; : Standard Reference and Text Books KH m \ Christmas bargains! for Jftostc Jfolfe Educational Institutions - _ Adopted by Leading (POSTPAID PRICES GOOD UNTIL DECEMBER 31, 1943 ONLY) S LIBRARY STANDARD HISTORY OF <*) AT THE CONSOLE—A Col- MUSIC LOVER CHILD’S OWN BOOK OF VALUABLE WO R K S FOR THE MUSIC—Latest, Revised Edition Lection of Transcriptions from the GREAT MUSICIANS Masters for the Organ Com- By James Francis Cooke — By Thomas Tapper piled and Arranged by William (Cloth Bound— Pr., $1.50) M. Felton—With Special Regis- FT CION'S (17 Subjects in 1 7 Booklets) Course Holiday Cash Price, $1.10 tration for the Hammond Organ OUTLINES OF A Study (Price, 20c Each) This, the "best seller" in musical litera- 1 . MUSIC DICTIONARY ($ 00 ) HISTORY Understanding ture tor more than a quarter of a cen- Holiday Cash Price, 12c Each Holiday Cash Price, 75c MUSIC in Music By Louis C. Elson tury, leaps to new heights in its latest, With the 4 subjects added recently Anyone who plays an organ will agree Clarence G. Hamilton definition and pronunciation of revised edition. Added matter, to bring By Contains the there now are 17 booklets that this recently issued volume of over Recommended by the the original text up-to-date, has enlarged in this clear-cut and up-to-date history book for terms and signs as are used in modern series of fascinating biographies 140 pages is a remarkable bargain, espe- A such it to 321 pages. Here is a thoroughly en- illus- and "cut-out" pictures: Bach, Bee- cially at the special holiday price. The class use or general reading. 18 pages of CLUBS music, together with a list of foreign com- joyable story of the romance and lore of NATIONAL FEDERATION OF MUSIC thoven, Brahms, Chopin, Dvorak, dual registration indications make its 46 trative music. Reference groups of outside artists, with pronunciation of their music. Over 200 illustrations. Nearly 900 posers and Foster, Grieg, Handel, Haydn, compositions available both for those who chapter. names and well over 100 subjects are in- reading material at the end of each names, rules for pronouncing foreign words, Liszt, MacDowell, Mendelssohn, perform on a standard pipe organ, and dexed. for those who play the electronic type of Copiously illustrated by pictures, maps and and a short English-Italian vocabulary of Mozart, Nevin, Schubert, Schu- First — mann, Sousa, Tschaikowsky, Verdi, organ such as the Hammond, now being chronological tables. Year and expressions. musical words YOUNG FOLKS’ PICTURE and Wagner. installed in many churches, studios, and Cloth Bound— Price, $2.25 THE FUNDAMENTALS OF MUSIC Cloth Bound— Price, $1.75 private homes. Concert selections and HISTORY OF MUSIC church numbers are included. By Karl W. Gehrkens Cloth Bound—Price, $1.50 STUDENT'S By James Francis Cooke ($1.00) THE CHAPEL ORGANIST 1. The Notation of Music PRONOUNCING THE YOUTHFUL TENOR (75c) SUNDAY INTRODUCTION TO a Edition Holiday Cash Price, 75c Compiled MUSIC Function of Rhythm in Music k ew by Rob Roy Peery 2 . The N MUSICAL DICTIONARY Holiday Cash Price, 55c For Violin and Piano Gives the child student an acquaintance (Cloth Bnd. Pr., MUSIC APPRECIATION 3. The Melodic Element in Music album of modern — $1.50) ELSON'S (Pocket Size) (Pr., 30c) with important things concerning the ear- An songs of limited (Price, $1 .00) 4. The Harmonic Basis of Music voice range for studio or recital. Holiday Cash Price, $1.10 liest known music, and the development Holiday Cash Price, 60c AND HISTORY By H. A. Clarke This is a good supply of easy preludes The Polyphonic Element in Music of music through the eras of all the great 5. POCKET MUSIC DICTIONARY and postludes and acceptable melodious Moyer Mus. Doc. 1 By Dorothy Tremble Design in Music masters. Over 100 cut-out pictures are 16 violin pieces with dig- 6 . Form and THE YOUTHFUL BARITONE offertories. None of the 28 pieces in this understanding of the form, traits music, student or instructor, has supplied to be pasted in the book. These nified characteristics. Gives an 7. Acoustics in Music Who in Hoi. Cash Price, 20c book makes registration demands beyond of pictures illustrate incidents in the lives of (75c) and history of music, in a concise series in Music not experienced the need of a handy the equipment of the average 2-manual 8 . Expression and Interpretation great composers, show their birthplaces and All the musical terms in Holiday Cash Price, organ with pedals. chapters, free from all technical language, reference for defining musical terms? and other musical shrines, include por- 55c primitive common use are found in Stirring baritone solos with appropriate traverses the story of music from its Here is a convenient-size booklet that traits of the old masters and famous PRESSER’S TWO-STAFF ORGAN VIOLIN VISTAS — this compact little store- texts and voice range for young singers. chapter in- Second Year modern composers, and give pictures of origins to the present day. Each can be tucked in the pocket of a man s house of musical informa- BOOK—Compiled and Arranged For First Position Players practically all of the instruments of the questions. 14 illustrations, 75 tion. Includes birth and eludes review FROM SONG TO SYMPHONY coat, or a lady's handbag. It gives all of modern symphony orchestra. By William M. Felton—Registra- (Price, 75c) death dates of over 350 DEVOTIONAL SOLOS FOR music cuts, 141 pages. By Daniel Cregory Mason Cloth Bound— Price, $1.50 the important terms used in music, with tion for Small Organ By Holiday Cash Price, 55c famous musicians of all Cloth Bound Price, $1.50 pronunciation and concise defini- THE SINGER’S HANDBOOK CHURCH AND HOME William S. Nagle ($1.00) — . their times. 1 The Folksong 15 attractive and easy-to- composers with St (Price, Holiday Cash Price, 2. The Art Song tion. List of outstanding By Lazar S. Samoiloff, Mus. Doc. $1.00) 75c play pieces. First position. A veritable treasure chest for pianists 3. Opera and Oratorio their birth and death dates. 160 pages. (List Price $3.00) Holiday Cash Price, 70c taking up the study of the instrument. MUSIC APPRECIATION 4. Piano Music (The Smaller Forms) Paper Bound Price, 35c One of the very best compilations of sacred The pedal part is printed on the staff ^ — Holiday Cash Price, $2.25 * songs made in many days. Every number with the left hand. By Clarence G. Hamilton 5. Piano Music (The Sonata and Concerto) (#) ALBUM OF MUSICAL DICTIONARY In this book. Dr. Samoiloff, who has de- is of a standard such as to make the (') methods of literary criticism, this 6. Chamber Music ORGAN MISCELLANY Based on AND PRONOUNCING veloped many successful singers in his collection worthy of being recommended FAVORITE FIRST is for those who wish to listen 7. Orchestral Music (The Classic Period) Chicago and Los Angeles studios, provides most highly. Songs for the (75c) unique book GUIDE average vocal POSITION PIECES Period) ELEMENTARY a helpful and engaging work on the vocal range predominate, making to music with quickened hearing and real 8. Orchestral Music (The Modern the collection Holiday Cash Price, 55c (Price, $1.00) arts. Presented in a straightforward man- acceptable tor the average Church singer, Enough to make one wonder how the understanding. There are numerous sugges- THEORY By H. N. Redman Holiday Cash Price, MUSIC ner and in simple uninvolved language, no matter what his or her vocal classifi- publishers can afford to give such a wealth 70c tions for supplementary reading and a bounti- Third Year- its contents cover diverse subjects of in- cation. Resides songs suitable for general of organ music as here presented. All of By Ralph Fisher Smith (Flex. Cloth— Pr., 60c) 22 solos for diagrams and music terest to singers. The chapter headings use, there is included one for Christmas its 50 numbers are attractive and useful. first and sec- ful supply of portraits, ond A text book used in many schools, colleges Hoi. Cash Pr., 45c include: Have You Got What It Takes? and one for Easter. Such well-known and year students. cuts. MUSICAL INSTRUMENTS (*) THE ORGAN PLAYER What You Should Know About Tone; favorite writers as Price, and conservatories of music, in class or pri- Hammond, Spross, Price, By Edgar Stillman Kelley Cloth Bound— $1.50 is fine Cloth Bound— $2.50 This a mighty and Vocal Errors and Their Correction; On Felton, Stults, Effinger, Galbraith and Compiled by Preston Ware Orem vate instruction. It is designed to cover a year’s 1. Primitive and Oriental Instruments quite comprehensive dic- Program Making he Singer’ s Health Roberts are ; T represented. (Cloth Bnd.—Pr., $2.00) of three minute periods a tionary of music terms.
Recommended publications
  • The Pomegranate Cycle

    The Pomegranate Cycle

    The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory.
  • Download Booklet

    Download Booklet

    557439bk Bax US 2/07/2004 11:02am Page 5 in mind some sort of water nymph of Greek vignette In a Vodka Shop, dated 22nd January 1915. It Ashley Wass mythological times.’ In a newspaper interview Bax illustrates, however, Bax’s problem trying to keep his himself described it as ‘nothing but tone colour – rival lady piano-champions happy, for Myra Hess gave The young British pianist, Ashley Wass, is recognised as one of the rising stars BAX changing effects of tone’. the first performance at London’s Grafton Galleries on of his generation. Only the second British pianist in twenty years to reach the In January 1915, at a tea party at the Corders, the 29th April 1915, and as a consequence the printed finals of the Leeds Piano Competition (in 2000), he was the first British pianist nineteen-year-old Harriet Cohen appeared wearing as a score bears a dedication to her. ever to win the top prize at the World Piano Competition in 1997. He appeared Piano Sonatas Nos. 1 and 2 decoration a single daffodil, and Bax wrote almost in the ‘Rising Stars’ series at the 2001 Ravinia Festival and his promise has overnight the piano piece To a Maiden with a Daffodil; been further acknowledged by the BBC, who selected him to be a New he was smitten! Over the next week two more pieces Generations Artist over two seasons. Ashley Wass studied at Chethams Music Dream in Exile • Nereid for her followed, the last being the pastiche Russian Lewis Foreman © 2004 School and won a scholarship to the Royal Academy of Music to study with Christopher Elton and Hamish Milne.
  • Download Booklet

    Download Booklet

    557592 bk Bax UK/US 8/03/2005 02:22pm Page 5 Ashley Wass Also available: The young British pianist, Ashley Wass, is recognised as one of the rising stars of his generation. Only the second British pianist in twenty years to reach the finals of the Leeds Piano Competition (in 2000), he was the first British BAX pianist ever to win the top prize at the World Piano Competition in 1997. He appeared in the ‘Rising Stars’ series at the 2001 Ravinia Festival and his promise has been further acknowledged by the BBC, who selected him to be a New Generations Artist over two seasons. Ashley Wass studied at Chethams Music School and won a scholarship to the Royal Academy of Music to study with Christopher Elton and Hamish Milne. He was made an Associate of the Piano Sonatas Nos. 3 and 4 Royal Academy in 2002. In 2000/1 he was a participant at the Marlboro Music Festival, playing chamber music with musicians such as Mitsuko Uchida, Richard Goode and David Soyer. He has given recitals at most of the major British concert halls including the Wigmore Hall, Queen Elizabeth Hall, Purcell Room, Bridgewater Hall and St Water Music • Winter Waters David’s Hall. His concerto performances have included Beethoven and Brahms with the Philharmonia, Mendelssohn with the Orchestre National de Lille and Mozart with the Vienna Chamber Orchestra at the Vienna Konzerthaus and the Brucknerhaus in Linz. He has also worked with Sir Simon Rattle and the City of Birmingham Symphony Orchestra, the London Mozart Players, the BBC Scottish Symphony Orchestra and the BBC Ashley Wass Philharmonic.
  • A History of the School of Music

    A History of the School of Music

    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1952 History of the School of Music, Montana State University (1895-1952) John Roswell Cowan The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Cowan, John Roswell, "History of the School of Music, Montana State University (1895-1952)" (1952). Graduate Student Theses, Dissertations, & Professional Papers. 2574. https://scholarworks.umt.edu/etd/2574 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. NOTE TO USERS Page(s) missing in number only; text follows. The manuscript was microfilmed as received. This reproduction is the best copy available. UMI A KCSTOHY OF THE SCHOOL OP MUSIC MONTANA STATE UNIVERSITY (1895-1952) by JOHN H. gOWAN, JR. B.M., Montana State University, 1951 Presented In partial fulfillment of the requirements for tiie degree of Master of Music Education MONTANA STATE UNIVERSITY 1952 UMI Number EP34848 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction Is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, If material had to be removed, a note will Indicate the deletion.
  • Music and Cultural Opposition

    Music and Cultural Opposition

    ANDREA F. BOHLMAN – PETER MOTYČKA – MARCUS ZAGORSKI – VLADIMÍR ZVARA Music and Cultural Opposition Introduction Music has always been both an aesthetic and a political phenomenon, but its political character seems especially pronounced during the period of Social- ism in Europe and in the Cold War more generally. Although it was politi- cized and used for political purposes on both sides of the Iron Curtain, music was more obviously controlled, censored, and even forbidden in totalitarian states. This overt control did much to lend certain kinds of music the status of oppositional culture, for citizens’ involvement with that which was banned or monitored by the authorities could constitute, in itself, a form of dissent. Any introduction to music during the socialist period in Eastern Europe must foreground the difficulty of summarizing the topic. This difficulty stems from three broad factors: the diversity of music in the period; the diversity of approaches to studying the music of the period; and, finally, the lack of uni- formity among different regions, including differences among the various po- litical regimes’ relations to culture, and changes over time even within indi- vidual countries. This introduction considers these factors in more detail and then outlines the main genres of music in the period. The two case studies that follow—on classical music in Poland and on jazz and alternative culture in Czechoslovakia—illustrate the diversity noted in this introduction and dispel some common myths about the period.1 Existing research on this period has favored specific genres and styles: classical music and jazz have been studied extensively in relation to Cold War cultural policies, and rock music and other alternative forms of youth music have been examined from sociological or ethnological perspectives that place them within distinct subcultures.2 Indeed, it is these very genres—classical music, jazz, and related alternative cultures—that constitute the case studies that follow in this chapter.
  • Philharmonic Kids

    Philharmonic Kids

    PHILHARMONIC KIDS November 1–2, 2017 9:30 am and 11:00 am Pikes Peak Center for the Performing Arts TABLE OF CONTENTS 4 Welcome 5 What you’ll See and Hear 6 Meet the Performers 7 Meet the Composers 8 Instruments of the Orchestra 10 Classroom Activities 14 Historical Intersections 15 Colorado Education Standards PHILHARMONIC KIDS SPONSORS Deluxe Corporation Foundation Giddings Foundation Kinder Morgan Foundation P. Bruce and Virgina C. Benson Foundation USAA Foundation Griffis/Blessing US Bank Foundation Pikes Peak Kiwanis Club Moniker Foundation Rotary Club of Colorado Springs The Myron Stratton Home 3 Welcome to Philharmonic Kids! On November 1–2, voyage through history Preparing for the Field Trip with the Colorado Springs Philharmonic to this helpful guide to learn more hear all kinds of great music from the past, Browse about the music and musicians you will hear present, and future as we travel Bach to the at the concert. to some recordings Future. Listen of each piece before your visit to the In our time machine, we’ll journey back to concert hall - having some familiarity with the Baroque period of J.S. Bach and discover the music will make the live experience what, exactly, is a fugue. Jumping forward much more exciting! in time, we will hear many styles of music by some of history’s greatest composers. With When You Arrive at the Pikes Peak Center sounds, themes, and ideas introduced by Pikes Peak Center staff will be outside different instruments of the orchestra, Buses: to direct you where to drop off and park.
  • Philharmonic Au Dito R 1 U M

    Philharmonic Au Dito R 1 U M

    LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living.
  • Teaching Intermediate-Level Technical and Musical Skills Through the Study and Performance of Selected Piano Duos

    Teaching Intermediate-Level Technical and Musical Skills Through the Study and Performance of Selected Piano Duos

    CORE Metadata, citation and similar papers at core.ac.uk Provided by The Research Repository @ WVU (West Virginia University) Graduate Theses, Dissertations, and Problem Reports 2007 Teaching intermediate-level technical and musical skills through the study and performance of selected piano duos Yunn Bing Christine Tan West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Tan, Yunn Bing Christine, "Teaching intermediate-level technical and musical skills through the study and performance of selected piano duos" (2007). Graduate Theses, Dissertations, and Problem Reports. 4341. https://researchrepository.wvu.edu/etd/4341 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. TEACHING INTERMEDIATE-LEVEL TECHNICAL AND MUSICAL SKILLS THROUGH THE STUDY AND PERFORMANCE OF SELECTED PIANO DUOS Yunn Bing “Christine” Tan A Doctoral Research Project submitted to The College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance Christine Kefferstan, D.M.A., Chair Keith Jackson, D.M.A.
  • July 1934) James Francis Cooke

    July 1934) James Francis Cooke

    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1934 Volume 52, Number 07 (July 1934) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship 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 52, Number 07 (July 1934)." , (1934). https://digitalcommons.gardner-webb.edu/etude/824 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 * <Music *%Cagazine PADEREWSKI July 1934 Price 25 Cents n WHERE SHALL I GO Information for Etude Readers & Advertisers TO STUDY? THE ETUDE MUSIC MAGAZINE THE ETUDE Founded by Theodore Presser, 1883 The Etude Music Magazine “Music for Everybody” tJXCusic <^J)(Cagazine Private Teachers THEODORE PRESSER (Eastern) Philadelphia, Pa. Copyright, ISS4. by Theodore Presser Co. for U. S. A. and Oreca Britain Entered as second-class matter January lfi 1 II // WILLIAM C. CARL, Dir. 1884, at the P. 0. at Phila., Pa f^n- ’ A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT AND ALL MUSIC LOVERS der the Act of March 3, 1879. Copy- Guilmant Organ School 51 FIFTH AVENUE, NEW YORK VOLUME LII.
  • The Politics of Musical Knowledge in the Soviet Union and Beyond (1930S−1980S)1

    The Politics of Musical Knowledge in the Soviet Union and Beyond (1930S−1980S)1

    Introduction to Special Issue: The Politics of Musical Knowledge in the Soviet Union and Beyond (1930s−1980s)1 OLGA PANTELEEVA AND DANIIL ZAVLUNOV In the conversation about how to best move on from the exclusionary musicological canon, Marina Frolova-Walker’s “An Inclusive History for a Divided World?” and Alejandro Madrid’s “Diversity, Tokenism, Non-Canonical Musics, and the Crisis of the Humanities in US Academia” fall on the opposite sides of the spectrum. We could label their approaches assimilationist and abolitionist, respectively. Whereas Frolova-Walker maintains that those repertories (Soviet music, in this case) that have been unfairly left out from the master narrative of Western European music should be included in textbooks and histories as a part of the same research frameworks that animate research on Western modernisms, Madrid argues that exclusion is the canon’s raison d’être and that including marginalized repertories (Ibero-American music, in this case) would go against its purpose. The solution, according to him, is to reduce the disciplinary space disproportionately occupied by the Anglo-American version of the classical canon, thus freeing up space to study the other 99% of music on its own terms.2 Our project resides in that 99%. Even though the music mentioned on the pages of this issue predominantly belongs to the same Western European repertory (this was, after all, the repertory that concerned Soviet music scholarship), our point is that the shape of that canon was different in the Soviet Union. As Pauline Fairclough and Marina Raku have shown, the Soviet version of the canon was constructed by musicologists during the 1930s in an effort to claim the Western European classics for domestic consumption—by inventing new revolutionary meanings to interpret the classics.3 Some works lent themselves to such appropriation more easily than others.
  • The Story of Music from Antiquity to the Present

    The Story of Music from Antiquity to the Present

    Maria Lord with John Snelson THE STORY OF MUSIC FROM ANTIQUITY TO THE PRESENT © 2008 Tandem Verlag GmbH h.f.ullmann is an imprint of Tandem Verlag GmbH Editor: Ritu Malhotra Design: Mallika Das DTP: Neeraj Aggarwal Project coordination: Daniel Fischer Cover design: e.fritz buchgestaltung & grafik, Berlin Printed in China ISBN 978-3-8331-4836-1 10 9 8 7 6 5 4 3 2 1 X IX VIII VII VI V IV III II I www.ullmann-publishing.com music_001-003_US.indd 3 2/13/08 4:39:594:38:48 PM ANCieNT MUsiC RITUAL TRADITIONS (UP TO 800 AD) Since the beginning of human presence on PREHISTORY earth it is thought that people have made music, either through singing or playing instruments. Little evidence remains of very earliest music- Music has played a part in almost all the important making in western Europe, and what there is stages of human life, from adolescence to comes either from iconography (for example, cave marriage, childbirth and death. It has accompanied paintings) or archaeological finds. The contexts religious rituals, work, dance and entertainment. in which music was performed are a matter of The sound itself has been produced by the voice or conjecture, although it is likely that they would have by any one of a number of idiophones (instruments included life-cycle rituals and religious settings, that produce the sound from their own body, and it is suspected that many artifacts have been usually by being struck, shaken or scraped), lost through the decay of organic materials. The Painting in the tomb of Inherkha, membranophones (drums with skins), aerophones Lower Paleolithic (c.
  • Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan Cam.Logan@Gmail.Com

    Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected]

    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-2-2014 Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Logan, Cameron, "Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax" (2014). Doctoral Dissertations. 603. https://opencommons.uconn.edu/dissertations/603 i Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan, Ph.D. University of Connecticut, 2014 This study explores the pitch structures of passages within certain works by Ralph Vaughan Williams and Arnold Bax. A methodology that employs the nonatonic collection (set class 9-12) facilitates new insights into the harmonic language of symphonies by these two composers. The nonatonic collection has received only limited attention in studies of neo-Riemannian operations and transformational theory. This study seeks to go further in exploring the nonatonic‟s potential in forming transformational networks, especially those involving familiar types of seventh chords. An analysis of the entirety of Vaughan Williams‟s Fourth Symphony serves as the exemplar for these theories, and reveals that the nonatonic collection acts as a connecting thread between seemingly disparate pitch elements throughout the work. Nonatonicism is also revealed to be a significant structuring element in passages from Vaughan Williams‟s Sixth Symphony and his Sinfonia Antartica. A review of the historical context of the symphony in Great Britain shows that the need to craft a work of intellectual depth, simultaneously original and traditional, weighed heavily on the minds of British symphonists in the early twentieth century.