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Hybridity and Identity in the Pan-American Jazz Piano Tradition
Hybridity and Identity in the Pan-American Jazz Piano Tradition by William D. Scott Bachelor of Arts, Central Michigan University, 2011 Master of Music, University of Michigan, 2013 Master of Arts, University of Michigan, 2015 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by William D. Scott It was defended on March 28, 2019 and approved by Mark A. Clague, PhD, Department of Music James P. Cassaro, MA, Department of Music Aaron J. Johnson, PhD, Department of Music Dissertation Advisor: Michael C. Heller, PhD, Department of Music ii Copyright © by William D. Scott 2019 iii Michael C. Heller, PhD Hybridity and Identity in the Pan-American Jazz Piano Tradition William D. Scott, PhD University of Pittsburgh, 2019 The term Latin jazz has often been employed by record labels, critics, and musicians alike to denote idioms ranging from Afro-Cuban music, to Brazilian samba and bossa nova, and more broadly to Latin American fusions with jazz. While many of these genres have coexisted under the Latin jazz heading in one manifestation or another, Panamanian pianist Danilo Pérez uses the expression “Pan-American jazz” to account for both the Afro-Cuban jazz tradition and non-Cuban Latin American fusions with jazz. Throughout this dissertation, I unpack the notion of Pan-American jazz from a variety of theoretical perspectives including Latinx identity discourse, transcription and musical analysis, and hybridity theory. -
We Are One June 16, 2018
We Are One June 16, 2018 Julie Desbordes, Artistic Director Molly Pope, Host and Special Guest Ian Shafer, Assistant Conductor La Gazza Ladra Overture Gioacchino Rossini Blood Moon Elizabeth Lain WORLD PREMIERE Sixth Fanfare for the Uncommon Woman Joan Tower Intermission Blue Danube Waltz Johann Strausse Selections from Man of La Mancha Mitch Leigh Conducted by Ian Shafer Ballad of the Sad Young Men Fran Landesman and Tommy Wolf The Best of Times Jerry Herman Special Guest Molly Pope The Carousel Waltz (Concert Version) Richard Rodgers Orchestrations by Don Walker Queer Urban Orchestra Violin I Bass Trumpet Brian Harrington Roger Herr Gilbert Galindo Andrew Holland Adrienne Lloyd •§ Erin Kulick § Nick Johnson George Nicholson Ron Nahass • Jennifer Rich Bryan Wang Farzaneh Sarafraz Harp Navida Stein Stephanie Babirak Trombone Phong Ta †§ Kevin Schmitt • Liann Wadewitz Flute/Piccolo Simon Morales Craig Devereaux •§ Violin II Scott Oaks Bass Trombone Alva Bostick § Ashley Williams Alex Arellano Jonathan Chang • Laura Flanagan Oboe Tuba Andre Gillard Alan Hyde Andrew Madej Suzanne Lipkin Rishi Magia Cory Pitts Percussion Seyed Safavynia Clarinet Andrew Berman •§ Ligia Sakurai Travis Fraser § Paul Robertson Vasanth Subramaniam Fran Novak • Álvaro Rodas James Teal Timothy Soldani Viola Bassoon Darcy Leon • Emily Bayer Nick Pulito James Di Meglio •§ William Jones Matthew Overberg Contrabassoon Nicholas Singletary Norma Kerlin Horn Cello Lynn Caron Bjorn Berkhout •§ Noah Dopkins Alex Humesky Steven Petrucelli § Todd Porter Marshall Sealy Brittany Taylor † concertmaster § section leader • principal Julie Desbordes, Artistic Director Originally from Limoges, France, Julie Desbordes is a fast-rising conductor known for her engaging style, energetic interpretations and emotional communication with her musicians and audiences. -
Carnegie Hall a Rn Eg Ie an D H Is W Ife Lo 12 Then and Now Uise, 19
A n d r e w C Carnegie Hall a rn eg ie an d h is w ife Lo 12 Then and Now uise, 19 Introduction The story of Carnegie Hall begins in the middle of the Atlantic. itself with the history of our country.” Indeed, some of the most In the spring of 1887, on board a ship traveling from New York prominent political figures, authors, and intellectuals have to London, newlyweds Andrew Carnegie (the ridiculously rich appeared at Carnegie Hall, from Woodrow Wilson and Theodore industrialist) and Louise Whitfield (daughter of a well-to-do New Roosevelt to Mark Twain and Booker T. Washington. In addition to York merchant) were on their way to the groom’s native Scotland standing as the pinnacle of musical achievement, Carnegie Hall has for their honeymoon. Also on board was the 25-year-old Walter been an integral player in the development of American history. Damrosch, who had just finished his second season as conductor and musical director of the Symphony Society of New York and ••• the Oratorio Society of New York, and was traveling to Europe for a summer of study with Hans von Bülow. Over the course of After he returned to the US from his honeymoon, Carnegie set in the voyage, the couple developed a friendship with Damrosch, motion his plan, which he started formulating during his time with inviting him to visit them in Scotland. It was there, at an estate Damrosch in Scotland, for a new concert hall. He established The called Kilgraston, that Damrosch discussed his vision for a new Music Hall Company of New York, Ltd., acquired parcels of land concert hall in New York City. -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
Jazz Standards Arranged for Classical Guitar in the Style of Art Tatum
JAZZ STANDARDS ARRANGED FOR CLASSICAL GUITAR IN THE STYLE OF ART TATUM by Stephen S. Brew Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Luke Gillespie, Research Director ______________________________________ Ernesto Bitetti, Chair ______________________________________ Andrew Mead ______________________________________ Elzbieta Szmyt February 20, 2018 ii Copyright © 2018 Stephen S. Brew iii To my wife, Rachel And my parents, Steve and Marge iv Acknowledgements This document would not have been possible without the guidance and mentorship of many creative, intelligent, and thoughtful musicians. Maestro Bitetti, your wisdom has given me the confidence and understanding to embrace this ambitious project. It would not have been possible without you. Dr. Strand, you are an incredible mentor who has made me a better teacher, performer, and person; thank you! Thank you to Luke Gillespie, Elzbieta Szmyt, and Andrew Mead for your support throughout my coursework at IU, and for serving on my research committee. Your insight has been invaluable. Thank you to Heather Perry and the staff at Stonehill College’s MacPhaidin Library for doggedly tracking down resources. Thank you James Piorkowski for your mentorship and encouragement, and Ken Meyer for challenging me to reach new heights. Your teaching and artistry inspire me daily. To my parents, Steve and Marge, I cannot express enough thanks for your love and support. And to my sisters, Lisa, Karen, Steph, and Amanda, thank you. -
Inside the Guide the Guide
wttw11 wttw Prime wttw Create wttw World wttw PBS Kids wttw.com THE GUIDE 98.7wfmt wfmt.com The Member Magazine for WTTW and WFMT A coming-of-age saga of three skateboarding friends Director Bing Liu in their Rust Belt hometown of Rockford. MON FEB 18 | 9:00 pm February 2019 ALSO INSIDE On WTTW and WFMT, we observe Black History Month throughout the month with profiles and documentaries, music, stories, videos, interviews, and more. From the President & CEO The Guide The Member Magazine for WTTW and WFMT Dear Member, Renée Crown Public Media Center 5400 North Saint Louis Avenue Greetings from WTTW and WFMT. This month, we are excited to bring you Chicago, Illinois 60625 the acclaimed documentary about the life of a public media treasure and icon – Mister Fred Rogers. Won’t You Be My Neighbor? premieres on WTTW11 on Main Switchboard (773) 583-5000 February 9. Join us for an in-depth and entertaining look at the life of a visionary Member and Viewer Services who fostered compassion and curiosity in generations of children and families. (773) 509-1111 x 6 February is also Black History Month, and we will celebrate it on WTTW11, Websites WTTW Prime, and wttw.com. You’ll find highlights of this special programming wttw.com on page 7 and at wttw.com/blackhistorymonth. Don’t miss new Finding Your wfmt.com Roots specials, in which Dr. Henry Louis Gates, Jr. explores race, family, and Publisher identity in today’s America by uncovering the genealogy of Michael Strahan, Anne Gleason S. Epatha Merkerson, and many more. -
Radio 3 Listings for 20 – 26 May 2017 Page 1 of 12
Radio 3 Listings for 20 – 26 May 2017 Page 1 of 12 SATURDAY 20 MAY 2017 (conductor) DELIUS: String Quartet (1916) [plus two movements from original version, reassembled by Daniel Grimley] SAT 01:00 Through the Night (b08q2ss1) 5:25 AM ELGAR: String Quartet in E minor Op. 83 Edward Gardner conducts the BBC Symphony Orchestra Förster, Kaspar Jr (1616-1673) Villiers Quartet Edward Gardner conducts the BBC Symphony Orchestra in a Dialogus a 5 ©Quid faciam misera?© NAXOS 8573586 (CD) world premiere by Raymond Yiu, plus music by Britten, Nielsen Olga Pasiecznik & Marta Boberska (sopranos), Dirk Snellings and Janácek. Catriona Young presents. (bass), Il Tempo Baroque Ensemble - Wim Maseele (theorbo), La Symphonie des Oiseaux Anna Sliwa (viola), Lilianna Stawarz (chamber organ), Marcin CASALS: El Cant dels Ocells (Song of the birds) 1:01 AM Zalewski (bass viol), Agata Sapiecha (violin & director) DVORAK: Waldesruhe (Silent woods) for cello and orchestra Britten, Benjamin (1913-1976) Op. 68 No. 5 Sinfonia da requiem, Op.20 5:32 AM GRANADOS: Goyescas: Quejas o La Maja y el Ruisenor BBC Symphony Orchestra, Edward Gardner (conductor) Rameau, Jean-Philippe (1683-1764) GRIEG: Lyric Pieces Op. 43: No. 4 - Little bird Suite in G major - from Nouvelles suites de pièces de clavecin - LISZT: Legende S.175 No. 1, St Francis of Assisi preaching to 1:20 AM arr. for wind quintet the birds Yiu, Raymond (b.1973) Yur-Eum Woodwind Quintet MESSIAEN: Louange a L©Immortalite de Jesus (from Quatuor Symphony, for countertenor and orchestra pour la fin du temps) Andrew Watts (countertenor), BBC Symphony Orchestra, 5:47 AM MOZART: Der Vogelfanger bin ich, ja (from Die Zauberflote) Edward Gardner (conductor) Chopin, Frédéric (1810-1849) PERLMAN: A Birdling sings Andante spianato and Grande polonaise brillante, Op.22 RAMEAU: La poule 1:49 AM Janina Fialkowska (piano), Kitchener-Waterloo Symphony SAINT-SAENS: Le carnaval des animaux: Le Cygne Nielsen, Carl (1865-1931) Orchestra, Raffi Armenian (conductor) SCHUMANN: Vogel als Prophet (No. -
Downbeat.Com September 2010 U.K. £3.50
downbeat.com downbeat.com september 2010 2010 september £3.50 U.K. DownBeat esperanza spalDing // Danilo pérez // al Di Meola // Billy ChilDs // artie shaw septeMBer 2010 SEPTEMBER 2010 � Volume 77 – Number 9 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser AdVertisiNg sAles Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] offices 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] customer serVice 877-904-5299 [email protected] coNtributors Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, How- ard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Jennifer -
Spring/Summer 2021 COURTESY of the NEW YORK PHILHARMONIC ARCHIVES COURTESY
News for Friends of Leonard Bernstein Spring/Summer 2021 COURTESY OF THE NEW YORK PHILHARMONIC ARCHIVES Bernstein and Stravinsky: Eternal Modernists 2 Bernstein & Stravinsky 8 Artful Learning 12 In Memoriam Inside... 4 New Sony Box Set 10 From the Archives 14 In the News 6 MTT & LB 11 Mahler Remastered 16 American Ballet Theatre Bernstein and Stravinsky: Eternal Modernists by Hannah Edgar captivated.1 For the eternally young Bernstein, The Rite of Spring would concert program is worth forever represent youth—its super- ince when did a virus ever slow Lenny a thousand words—though lative joys and sorrows, but also its Sdown? Seems like he’s all around us, Leonard Bernstein rarely supreme messiness. Working with the and busier than ever. The new boxed Aprepared one without inaugural 1987 Schleswig-Holstein set from Sony is a magnificent way to the other. Exactly a year after Igor Music Festival Orchestra Academy, commemorate the 50th anniversary Stravinsky’s death on April 6, 1971, Bernstein’s training ground for young of Stravinsky’s death, and to marvel at Bernstein led a televised memorial musicians, he kicked off the orches- Bernstein’s brilliant evocations of those concert with the London Symphony tra’s first rehearsal of the Rite with his seminal works. We’re particularly happy Orchestra, delivering an eloquent usual directness. “The Rite of Spring to share a delightful reminiscence from eulogy to the late composer as part of is about sex,” he declared, to titillated Michael Tilson Thomas, describing the the broadcast. Most telling, however, whispers. “Think of the times we all joy, and occasionally maddening hilarity, are the sounds that filled the Royal experience during adolescence, when of sharing a piano keyboard with the Albert Hall’s high dome that day. -
The Virtuoso Johann Strauss
The Virtuoso Johann Strauss Thomas Labé, Piano CD CONTENTS 1. Carnaval de Vienne/Moriz Rosenthal 2. Wahlstimmen/Karl Tausig 3. Symphonic Metamorphosis of Wein, Weib und Gesang (Wine, Woman and Song)/Leopold Godowsky 4. Man lebt nur einmal (One Lives but Once)/Karl Tausig 5. Symphonic Metamorphosis of Die Fledermaus/Leopold Godowsky 6. Valse-Caprice in A Major (Op. Posth.)/Karl Tausig 7. Nachtfalter (The Moth)/Karl Tausig 8. Arabesques on By the Beautiful Blue Danube/Adolf Schulz-Evler LINER NOTES At the end of Johann Strauss’ 1875 operetta Die Fledermaus, all of the characters drink a toast to the real culprit of the story—“Champagner hat's verschuldet”—a fitting conclusion to the most renowned and potent evocation of the carefree life of post-revolution imperial Vienna. Strauss' sparkling score (never mind that the libretto is an amalgam of German and French sources), infused with that most famous of Viennese dances, the waltz, lent eloquent expression to the transitory atmosphere of confidence and prosperity induced by the Hapsburg monarchs. “The Emporer Franz Joseph I,” it would later be said, "only reigned until the death of Johann Strauss." And what could have provided more perfect source material than the music of Strauss, for the pastiche creations of the illustrious composer-pianists who roamed the world in the latter 19th and early 20th centuries, forever seeking vehicles with which to exploit the possibilities of their instrument and display their pianistic prowess? This disc presents a succession of such indulgent enterprises, all fashioned from Strauss’ music, for four notable composer-pianists: Moriz Rosenthal, Karl Tausig, Leopold Godowsky, and Adolf Schulz-Evler. -
Music Appreciation Study Sheet – Romantic Period
Music Appreciation Study Sheet – Romantic Period Characteristics of the Romantic Period: Rhythm: Wealth of Rhythmic Patterns Dynamics: Extreme Use Texture: Homophonic Composers and what they are known for: (Italics = name of composition) Franz Schubert: wrote about 600 Art Songs / Unfinished Symphony Robert Schumann: wrote Art Songs & Incidental Piano Pieces / injured left hand with device Clara Wieck-Schumann: wife of famous composer / wrote for piano and small ensembles Frederic Chopin: wrote mostly piano works / The Minute Waltz Franz Liszt: piano virtuoso / created the Tone Poem Felix Mendelssohn: revived the music of Bach / The Wedding March from Midsummer Night’s Dream Hector Berlioz: created the Symphonic Poem / Symphony Fantastique Bedrich Smetana: Czech Nationalistic Composer / The Moldau (Vltava) Antonin Dvorak: Inspired by Erie’s Harry T. Burleigh / The New World Symphony Peter Illyich Tchaikovsky: Russian Nationalistic Composer / The 1812 Overture Johannes Brahms: used the Classical Period Forms / The Lullaby Edvard Grieg: Norwegian Nationalistic Composer / In the Hall of the Mountain King Jean Sibelius: Finnish Nationalistic Composer / Finlandia Modest Mussorgsky: Russian Nationalistic Composer / Pictures at an Exhibition Nikolai Rimsky-Korsakov: Russian Nationalistic Composer / The Flight of the Bumblebee Johann Strauss II: The “Waltz King” / The Blue Danube Waltz Edward Elgar: English Nationalistic Composer / Pomp and Circumstance Carl Orff: German Nationalistic Composer / Carmina Burana Aaron Copeland: American Nationalistic Composer / Rodeo (Ballet) Giacchino Rossini: Italian Opera composer / The Barber of Seville Giuseppe Verdi: Italian Nationalistic Opera Composer / Aida Giacomo Puccini: wrote Through-composed Italian Operas / La Boheme Richard Wagner: wrote Through-composed German Operas / The Ride of the Valkyries . -
Slatkin Conducts Porgy & Bess
CONCERT PROGRAM Friday, November 11, 2016, 8:00pm Gemma New, conductor Leonard Slatkin, conductor ST. LOUIS SYMPHONY YOUTH ORCHESTRA COPLAND Fanfare for the Common Man (1942) (1900–1990) GRIEG Peer Gynt Suite No. 1, op. 46 (1875) (1843–1907) Morning Åse’s Death Anitra’s Dance In the Hall of the Mountain King WAGNER Prelude to Die Meistersinger von Nürnberg (1867) (1813–1883) Leonard Slatkin, conductor INTERMISSION BEETHOVEN Symphony No. 3 in E-flat major, op. 55, “Eroica” (1804) (1770–1827) Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto This concert is sponsored by Whole Foods Market. The St. Louis Symphony Youth Orchestra is supported in part by the G.A., Jr. and Kathryn M. Buder Charitable Foundation. The St. Louis Symphony Youth Orchestra is supported in part by Esco Technologies Foundation. 23 AARON COPLAND Fanfare for the Common Man BY ELI MENNERICK, TROMBONE To many, the works of Aaron Copland embody the American musical sound. During the 1930s and 1940s especially, Copland deliberately composed “populist” music accessible to the general public. Unsurprisingly, his most widely- known works come from this period, includ- Born ing Appalachian Spring, Billy the Kid, Rodeo, and November 14, 1900, in Fanfare for the Common Man. These composi- Brooklyn tions are characterized by a lean, open sound, Died reflecting both American democratic ideals and December 2, 1990, in North the natural grandeur of the country. Fanfare for Tarrytown, New York the Common Man provides a particularly good First Performance example of this unique style. March 12, 1943, Eugene In 1942, during World War II, the conduc- Goossens conducting tor Eugene Goossens commissioned fanfares YO Premiere from multiple prominent American composers May 21, 2000, David Amado in order to encourage support for the war effort.