Music Course Descriptions
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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
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 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. -
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
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. -
Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956 Author(S): Amy C
American Musicological Society Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956 Author(s): Amy C. Beal Source: Journal of the American Musicological Society, Vol. 53, No. 1 (Spring, 2000), pp. 105- 139 Published by: University of California Press on behalf of the American Musicological Society Stable URL: http://www.jstor.org/stable/831871 Accessed: 22/11/2010 15:41 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=ucal. 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]. University of California Press and American Musicological Society are collaborating with JSTOR to digitize, preserve and extend access to Journal of the American Musicological Society. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY*OF*SOUTHAMPTON* ABSTRACT* FACULTY*OF*LAW,*ARTS*AND*SOCIAL*SCIENCES SCHOOL*OF*HUMANITIES* Department*of*MusiC* Thesis*for*the*degree*of*DoCtor*of*Philosophy* * "In$His$Master's$Steps$He$Trod"$ Alan$Rawsthorne$and$Frederic$Chopin:$ The$Piano$Ballades$ * Alan*Rawsthorne*is*a*diffiCult*to*plaCe*as*a*composer.*To*many,*his*worK*seems* conservative,*even*academic.*Yet*in*1937,*PatriCK*Hadley*recommended*him*to*Cecil*Gray* as*one*of*the*most*'modern'*composers*of*his*generation.*This*thesis*examines*the*question* of*Rawsthorne's*attitude*to*Contemporary*Composition,*through*the*lens*of*his*engagement* with*Chopin.*I*examine*both*Rawsthorne's*wellVknown*second*Ballade*(1967)*and*his* -
Beyond Prima Donna: Pauline Viardot's Collaboration on Meyerbeer's Le Prophète, Gounod's Sapho, and Berlioz's Arrange
BEYOND PRIMA DONNA: PAULINE VIARDOT’S COLLABORATION ON MEYERBEER’S LE PROPHÈTE, GOUNOD’S SAPHO, AND BERLIOZ’S ARRANGEMENT OF ORPHÉE A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC by LYDIA BECHTEL-EDMONSON BM Oklahoma State University (Vocal Performance), 2014 MM Colorado State University (Vocal Performance), 2016 Kansas City, Missouri, 2020 © 2020 LYDIA BECHTEL-EDMONSON ALL RIGHTS RESERVED BEYOND PRIMA DONNA: PAULINE VIARDOT’S COLLABORATION ON MEYERBEER’S LE PROPHÈTE, GOUNOD’S SAPHO, AND BERLIOZ’S ARRANGEMENT OF ORPHÉE Lydia Bechtel-Edmonson, Candidate for the Master of Music Degree University of Missouri-Kansas City ABSTRACT Prima donnas of the nineteenth century enjoyed celebrity status and were the wealthiest women of their time. Mezzo-soprano Pauline Viardot’s (1821–1910) diva status provided her with a platform from which to share the full extent of her musical abilities. Viardot’s capabilities as a performer are widely acknowledged and reviewed throughout history; however, her contributions to French music beyond simply singing are only beginning to be understood. Her Thursday night salon promoted the music of both established and unknown composers, and hosted important guests, including Alfred de Musset, George Sand, Charles Dickens, Charles Gounod, Frédéric Chopin, and Franz Liszt. Viardot’s musical talents were respected and utilized in the premieres of Giacomo Meyerbeer’s Le prophète (1849) , Charles Gounod’s Sapho (1851) , and Hector Berlioz’s revision of Gluck’s Orphée (1859) . Through her salon and collaboration with composers, Viardot shaped the careers of others, contributing in a broader sense to the trajectory of French music of the nineteenth century. -
Bulletin No. 16 April, 1948
Library of The Harvard Musical Association Bulletin No. 16 April, 1948 Library Committee CHARLES R. NUTTER CYRUS W. DURGIN WALDO S. KENDALL GEORGE B. WESTON ALEXANDER W. WILLIAMS Director of the Library and Library and Custodian of the Marsh Room Marsh Room Marsh Room CHARLES R. NUTTER MURIEL FRENCH FLORENCE C. ALLEN To the Members of the Association: Your attention is called to an article in this issue by Hugo Leichtentritt. * * * * The first 14 bulletins issued by the Library, 12 of which narrate the history of this Association now in its 111th year, have been considerably revised and bound in book form. Here and there the text has received additions, a few mis‐statements and typographical errors corrected. A volume stands on the shelves for circulation or for reference. * * * * At the present moment it is the intention of the writer, in this bulletin and in succeeding bulletins if and when written, to narrate in connection with each concert season certain details not included in Bulletin No. 5, for the purpose of record. Also included will be, as heretofore, articles informing or entertaining if the latter can be dug up, and very likely references to other musical events not closely allied to this Association. For instance, the World’s Peace Jubilee and International Musical Festival, held in Boston June 17‐22, 1872, which far excelled the National Jubilee of 1869, itself a tremendous undertaking, was too astonishing in conception and too stupendous in execution to be completely ignored. As a matter of fact, en passant, the story of music in Boston from 1850 to these later years is not only of general interest but is a striking revelation of the changed musical taste of the public, the recognizable contrast in the personnel of audiences following the rise of the proletariat, the significant difference in what is offered on all programmes, all and more subject to influences which change life’s customs and habits from decade to decade but which appear to be more sweeping in the art of music. -
Intermedial Modernism: Music, Dance, and Sound
Intermedial Modernism: Music, Dance, and Sound Patrick Milian A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2019 Reading Committee: Leroy Searle, Chair Sydney Kaplan Brian Reed Program Authorized to Offer Degree: English ©Copyright 2019 Patrick Milian University of Washington Abstract Intermedial Modernism: Music, Dance, and Sound Patrick Milian Chair of Supervisory Committee: Leroy Searle English Intermedial Modernism: Music, Dance, and Sound examines how twentieth-century combinations of literature with sound-based arts like music, dance, and radio emerged from aesthetic negotiations with new media technologies. Such technologies—specifically phonography, electric amplification, modern stagecraft, and radiophonic broadcast—practically and conceptually integrated multiple artistic mediums and their meaning-making potentialities. I use the framework of intermediality, especially as utilized in word and music studies, to describe such integrations. Intermediality is a centuries-old practice of “making it new,” but what sets its twentieth-century iterations apart from those of Aeschylus or Monteverdi, I argue, is that they interpolate the acoustic effects, cultural practices, and expanded perceptual vocabularies affiliated with new media. By fully contextualizing case studies of opera, musicalized literature, expressive dance, and radio programs within a broader media ecology and by understanding the role of stipulated sense modalities and listening practices, -
Volume 61, Number 12 (December 1943) James Francis Cooke
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 .