School of Music 2001–2002

Total Page:16

File Type:pdf, Size:1020Kb

School of Music 2001–2002 School of Music 2001–2002 bulletin of yale university Series 97 Number 4 July 10, 2001 Bulletin of Yale University Postmaster: Send address changes to Bulletin of Yale University, PO Box 208227, New Haven ct 06520-8227 PO Box 208230, New Haven ct 06520-8230 Periodicals postage paid at New Haven, Connecticut Issued sixteen times a year: one time a year in May, October, and November; two times a year in June and September; three times a year in July; six times a year in August Managing Editor: Linda Koch Lorimer Editor: David J. Baker Editorial and Publishing Office: 175 Whitney Avenue, New Haven, Connecticut Publication number (usps 078-500) The closing date for material in this bulletin was June 10, 2001. The University reserves the right to withdraw or modify the courses of instruction or to change the instructors at any time. ©2001 by Yale University. All rights reserved. The material in this bulletin may not be reproduced, in whole or in part, in any form, whether in print or electronic media, without written permission from Yale University. Inquiries Requests for bulletins and application material should be addressed to the Admissions Office, Yale School of Music, PO Box 208246, New Haven ct 06520-8246. School of Music 2001–2002 bulletin of yale university Series 97 Number 4 July 10, 2001 c yale university ce Pla Lake 102-8 Payne 90-6 Whitney — Gym south Ray York Square Place Tompkins New House Residence rkway er Pa Hall A Tow sh m u n S Central tree Whalley Avenue Ezra Power Stiles t Morse Plant north The Yale Bookstore > Elm Street Hall of Graduate Studies Mory’s Sterling St. Thomas W Grove Street Broadway all Street Law Lynwood Place More Chapel Buildings P 35 ro Davie s p e c Becton O Police S t Edgew 294 Substation Beinecke University tre Dining Hall Dunham ood A 248-58 e H t Lab Q EW venue York Street Sterling U SSS Pierson Memorial AD ITT Library Mason Lab Davenport Woolsey Hall Kirtland 254 Trumbull CCL Woodbridge CROSS CAMPUS 4 Hall 220 E Rose Saybrook lm 1 217 Alumni S 211 treet University 493 370 205 212 WLH Sprague Drama 215 Theater Berkeley Park Hall Annex GPSCY Harkness Silliman Temple Street Chapel Street Tower Yale Station Stoeckel Yale Post Office Hall Daily Whitney News Branford Lanman- Calhoun 82-90 Grove 451 Square A&A Weir Jonathan OLD CAMPUSWright Durfee Timothy Edwards 80 Holcombe T. 435 Slifka Dwight Green, Jr.Hall Sculpture Battell yale medical area Park Street Garden d Chapel 68 ancial Dwight W Student Fin a 320 ll Street Services and OISS 353 Crown Yale Art 265 Farnam Hendrie le Repertory Gallery Linsly- Ya Whitney 246 Hall ess Theatre High StreetChittenden Pr Humanities OAG Visitor 302 Center Lawrance t 149 Street Information British Art McClellan tree Hall Center Phelps 143 le S Connecticut 149 p Hall Tem Welch 3 Chapel StreetVanderbilt 05 NEW HAVEN GREEN Elm Street 301 295 Bingham Connecticut Church Street Mental Health Center C ro B w E n G Street College Street Park Street 270 n l: ilio ita v a sp o st P H a Air Rights E How Parking Facility Children's C h Hospital:est Pavilion a ard Avenue W p E e S l Stree H North Frontage Road York Street t Hospital: Cancer South Pavilion Center CSC H Auditorium So arkness u th NSB Sterling Hall of M Fro LMP MRC LCI t Hunter n W tag Stree W e R ge Medical Library LEPH o from I-91 & I-95 W a lle d o Yale FMP C Dana Physicians Clinic Hospital: P Building SP NH Unit BBC edicine TMP TE 7 4 Primary BCMM Care Hope Center FMR BM L LSOG Lauder Congress Avenue Congress Pierce Liberty Street Avenue Laboratory Congress Building Place Lafayette Street Cedar Street ue ven Gold Street n A gto in ash W istad Street Am School of Nursing a divinity school area Canner Street Fisher Bellamy Curtis International Divinity School House Prospect Street Prospect Greeley Memorial Lab SDQ yale university Marquand Porter b Chapel Marsh Hall Institute of Sacred Music St. Ronan Street Ronan St. Hillside Place — Marsh north Botanical Garden a Cann er S tre et Fisher Bellamy Curtis International Divinity School b House P r o Greeley s p Memorial Lab e SDQ c t Marquand Porter S t Chapel r Marsh e Woodland Street e Hall t Institute of Sacred Music S t . R H o il lsi n de a Pl n a ce S t Marsh r e e Botanical t Edwards Street Garden 314 W o C odl o and tta St Ed ree 314 wa ge t rd Stre s S tre et et 301 310 285 340 L aw r 6 en 27 ce Com Kline S pton S tr et treet Chemis ee ter Stre try t Webs Lab 254 350 Wright Nuclear Lab 23 0 EAL Ed w 301 Pierson-Sage a rd Garage s Sterling St re Chemistry et Lab 210 Bass Center B is W h o p i n Sage- Sloane Lab S c tr h Bowers e M e e t s a Hall Kline Biology t n e s r Tower f A 310 i c e Ingalls Gibbs Lab v l d H e Rink u n S Pierson mp u P t r r e o e Sage hr s e ey p t Power e Stre 100 c t Plant S e 285 t t r e e Osborn Mudd t L 80 ce oc Library Labs Pla k S 70 ake tre 340 L et Kline Geology Lab Hammond Donaldson 221 Hall Commons 135 Information 140 Environmental Technology Sciences Services GROVE STREET 60 4 Facility 102-8 124 School of 56 Peabody Payne 90-6 CEMETERY Management W P Museum h ce 12 r i Whitney la os t re P p n ua ec e 215 Gym Sq t 52 y rk P Ray Yo la 55 Sac A ce hem St v e Tompkins n New u House reet e Residence 51 rkway 46 r Pa Hall A owe C T s a h n 158 m a 175 l un S 181 t 43 S r 38 e 34 t e President’s Central re Undergrad W Ezra t Luce House 155 e 37 h Power Admissions a Stiles Morse t ll Plant 77 e y The Yale T r 89 30 35 A um v Bookstore b 87 e ul n l S u tr 28 31 e ee E t lm Hall of S aduate 27 tr Gr 24 B e H e Studies 51 ra e t i d c l l l a Watson h e l y 276 o P S d u t o Mory’s rling s r Ste e e o G e W w St. Thomas A t n B a Law ro y r l ve v e 88 L More Chapel o l Buildings n a S St t P u d r r 442 e ree 12 e w 35 e o Davies t sp Health a t Leet Com y e Services 432-4 c Becton Oliver Police t E S dg 294 Kline t Sub University station t W e e Beinecke r e e Dunham w r Dining Hall CMI h pton Street e t ood i 248-58 H t S Lab 433 t 15 n rk E Helen Ave o Q e Y Sterling W y U SSS Hadley Hall nu emorial I A Pierson M A T v e D T Mason Lab e Lincoln Street Library y Hall Kirtland n Davenport Woolse 411 u 5 e 254 Trumbull 8 CCL Chemistry Woodbridge 405 CROSS CAMPUS Hall 220 E Rose Saybrook lm 1 55 t 217 Alumni S e t re 211 re t 205 212 University et WLH 493 370 S Spra e 215 gue l A Drama Theater Berkeley p u Hall m d Park e u ebster Street Annex T b GPSCY Harkness Silliman o C n W h toeckel S Lab a Tower Yale Station S t p e Yale re l S Post Office Hall e tr Daily Whitney t ee t News Branford Lanman- Calhoun 82-90 Grove 254 t 451 e A&A Jonathan OLD CAMPUSWright Durfee Square e Weir Timothy tr 80 Wright S Holcombe T. Edwards 435 Dwight rk Slifka a Green, Jr.Hall Sculpture 350 P Battell d Garden pel 68 Cha Dwight W Student Financial t 320 a s and OISS e ll Service re S 353 Crown Yale Art t t 265 S Farnam Hendrie ale re Repertory Gallery h Linsly- Y e Whitney 246 ig Hall ess t Theatre H Chittenden Pr Humanities OAG 302 Nuclear Lab Visitor t Center Lawrance e 149 Street Information re ritish Art Clellan t B Mc S Hall 143 le Center Phelps 149 p Connecticut m e Hall T Welch C erbilt 305 h Vand NEW HAVEN GREEN a E p lm e 301 l S S t t re 295 re Bingham e t h e t t u lt t e ic a re t e t c H S e l h n a rc n t u o n r h C e te C n M e C t e e tr S 230 t C EAL e e e r g r o e t w ll S n o rk GEB S C t a tr e P 270 e e e tr S n t : o e l li g ta i n i v ra 's p a O n n s P e : io o t r l il H s Air Rights d a v a il it a E G H Parking Facility h sp P e o C t o C o s r h w H e g a n e p Pierson-Sage a t W o e S e r : li e E t l d l i r r v t S e S a S H e t A t a N re i P k t v p r o e e s o r t h Y t n o t h H u u o F C r C e S o a e n C t n n a S c g t C H e A e e S o R r r u a u o r a d th k d Garage S NSB it L n F r te M L te r M n t u o o H e C n e r ri e RC s WWW t I P r li a s t Sterling u g S n e m e g R g M L L o e from I-91 & I-95 E l i l H a b e P o l: H d C a ale FMP a r d a Y t ll s i t i n c ia Dana i r ysic C p Ph s n o y a lin o U l ilding H f P Bu H P M S i N B c B e d C TMP i Chemistry TE c 7 ary in 4 Prim B e are C C M H er B nt o e M C FMR M p r L e LSOG Laude Lab Congress Avenue Pierce Congress ory L orat i Lab Avenue b e C r Building P L o t a l n y C a f g S e a e c u e r t n y d e r e e e v G 2 a s t 10 e A t o r s t n e o l S t g d S t in t r h S r e as t e e r e r e ente W ass C t B t e Bishop Street t Winchester Avenue et re St ad ist Am Chu r c h S t School of r Nursing e Sage- Sloane Lab et S ou Bowers th Mansfield Street Mansfield Hall Kline Biology Tower Ingalls Gibbs Lab H Rink u Pierson m Prospect Street Prospect p Sage h re Power y S 100 Plant tre e t Mudd Osborn Lo Library 80 Labs lace ck Street 70 ke P La Kline Geology Lab Hammond Donaldson 221 Hall Commons 135 Information 140 Environmental Technology Copyright ©2001 Yale University Sciences Services GROVE STREET 60 4 Facility 102-8 124 School of 56 Peabody CEMETERY Avenue Whitney 90-6 Management Museum 12 Prospect Place 52 215 York Square Place 55 Sa ch em S New tre Residence 51 e 46 t A Hall Canal Street sh 158 m 175 u 181 n 43 Stre 38 34 Undergrad President’s Luce House 155 e Admissions 37 t 77 Tru 30 35 m 89 b 87 north ull S tre 28 31 > et 27 24 Bradley Street 51 Avenue Hillhouse Watson Grove Street 88 P ro 442 Davies 12 s Health p Leet e Services 432-4 c Becton Oliver t S tre Dunham W CMI h e itn t Lab 433 15 Helen e SSS Hadley Hall A y v Mason Lab e Kirtland n 411 u 58 e 405 1 55 370 Audubon Temple Street Whitney Grove Square Not to scale Contents A Message from the Dean 7 Calendar 8 The President and Fellows of Yale University 9 The Officers of Yale University 10 Yale School of Music 11 Music at Yale 15 The School of Music 15 The Department of Music 15 The Institute of Sacred Music 16 Yale Summer School of Music: Norfolk Chamber Music Festival 17 History of the School of Music 18 Facilities 19 Libraries 20 Degrees 22 Master of Music 22 Master of Musical Arts 22 Doctor of Musical Arts 24 Artist Diploma 25 Certificate in Performance 26 B.A./M.M.
Recommended publications
  • Boston Symphony Orchestra Concert Programs, Season 88
    BOSTON SYMPHONY v^Xvv^JTa Jlj l3 X JlVjl FOUNDED IN 1881 BY HENRY LEE HIGGINSON THURSDAY A SERIES EIGHTY-EIGHTH SEASON 1968-1969 Exquisite Sound From the palaces of ancient Egypt to the concert halls of our modern cities, the wondrous music of the harp has compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Rameses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it be- came possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 PAIGE OBRION RUSSELL Insurance Since 1876 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor EIGHTY-EIGHTH SEASON 1968-1969 THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. TALCOTT M. BANKS President HAROLD D. HODGKINSON PHILIP K. ALLEN Vice-President E. MORTON JENNINGS JR ROBERT H.GARDINER Vice-President EDWARD M.
    [Show full text]
  • Pacific Southern Chapter the COLLEGE MUSIC SOCIETY
    Pacific Southern Chapter THE COLLEGE MUSIC SOCIETY 20th Regional Conference March 17–18, 2006 California State University – Los Angeles Los Angeles, California Pacific Southern Chapter THE COLLEGE MUSIC SOCIETY ACKNOWLEDGEMENTS The CMS Pacific Southern Chapter gratefully acknowledges all of those who have worked tirelessly to make this conference such a tremendous success: David Connors, Chair, Cal State L.A. Department of Music John M. Kennedy, Director, Cal State L.A. New Music Ensemble and Program co-chair Cathy Benedict, Program co-chair CMS Pacific Southern Chapter Executive Board President: Jeffrey Benedict (California State University - Los Angeles) Vice-President: Cathy Benedict (New York University) Treasurer: William Belan (California State University - Los Angeles) Secretary: Elizabeth Sellers (California State University - Northridge) CMS Pacific Southern Chapter Conference Committee John Kennedy Cathy Kassell Benedict Jeff Benedict March 17, 2006 Dear CMS Colleagues: On behalf of my colleagues at the California State University, Los Angeles, I would like to welcome you to the 2006 College Music Society Southern Pacific Chapter Conference. As always, we have an exciting slate of performances and presentations, and I am sure it will prove to be an intellectually stimulating event for all of us. I look forward to the free exchange of ideas that has become the hallmark of our chapter conferences. I would especially like to welcome Dr. Andrew Meade, who has graciously accepted our invitation to be the keynote speaker. Again, welcome, and I hope that you all have a fabulous conference her at Cal State L.A. Jeff Benedict CMS Pacific-Southern Chapter President 2006 Conference Host S TEINWAY IS THE OFFICIAL PIANO of THE COLLEGE MUSIC SOCIETY’S NATIONAL CONFERENCE New from2 Forthcoming! BEYOND TALENT RESEARCHING THE SONG Creating a Successful Career in Music A Lexicon ANGELA MYLES BEECHING SHIRLEE EMMONS and WILBUR WATKINS LEWIS, Jr.
    [Show full text]
  • American Academy of Arts and Letters
    NEWS RELEASE American Academy of Arts and Letters Contact: Ardith Holmgrain 633 WEST 155 STREET, NEW YORK, NY 10032 [email protected] www.artsandletters.org (212) 368-5900 http://www.artsandletters.org/press_releases/2010music.php THE AMERICAN ACADEMY OF ARTS AND LETTERS ANNOUNCES 2010 MUSIC AWARD WINNERS Sixteen Composers Receive Awards Totaling $170,000 New York, March 4, 2010—The American Academy of Arts and Letters announced today the sixteen recipients of this year's awards in music, which total $170,000. The winners were selected by a committee of Academy members: Robert Beaser (chairman), Bernard Rands, Gunther Schuller, Steven Stucky, and Yehudi Wyner. The awards will be presented at the Academy's annual Ceremonial in May. Candidates for music awards are nominated by the 250 members of the Academy. ACADEMY AWARDS IN MUSIC Four composers will each receive a $7500 Academy Award in Music, which honors outstanding artistic achievement and acknowledges the composer who has arrived at his or her own voice. Each will receive an additional $7500 toward the recording of one work. The winners are Daniel Asia, David Felder, Pierre Jalbert, and James Primosch. WLADIMIR AND RHODA LAKOND AWARD The Wladimir and Rhoda Lakond award of $10,000 is given to a promising mid-career composer. This year the award will go to James Lee III. GODDARD LIEBERSON FELLOWSHIPS Two Goddard Lieberson fellowships of $15,000, endowed in 1978 by the CBS Foundation, are given to mid-career composers of exceptional gifts. This year they will go to Philippe Bodin and Aaron J. Travers. WALTER HINRICHSEN AWARD Paula Matthusen will receive the Walter Hinrichsen Award for the publication of a work by a gifted composer.
    [Show full text]
  • AN ANALYSIS of “SEVEN LAST WORDS from the CROSS” (1993) by JAMES MACMILLAN by HERNHO PARK DISSERTATION Submitted in Partial
    AN ANALYSIS OF “SEVEN LAST WORDS FROM THE CROSS” (1993) BY JAMES MACMILLAN BY HERNHO PARK DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Choral Music in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Doctoral Committee: Professor Barrington Coleman, Chair Professor Carlos Carrillo, Director of Research Professor Michael Silvers Professor Fred Stoltzfus ABSTRACT James MacMillan is one of the most well-known and successful living composers as well as an internationally active conductor. His musical language is influenced by his Scottish heritage, the Catholic faith, and traditional Celtic folk music, blended with Scandinavian and European composers including Olivier Messiaen (1908-1992), Alfred Schnittke (1943-1998), and Igor Stravinsky (1882-1971). His cantata for choir and strings Seven Last Words from the Cross, was commissioned by BBC (British Broadcasting Corporation) television, composed in 1993, and premiered in 1994 by Cappella Nova and the BT (British Telecom) Scottish Ensemble. While this piece is widely admired as one of his best achievements by choral conductors and choirs, it is rarely performed, perhaps due to its high level of difficulty for both the string players and singers. The purpose of this dissertation is to present an analysis of the Seven Last Words from the Cross by James MacMillan aimed to benefit choral conductors rather than audiences. Very little has been written about MacMillan's choral works. My hope is to establish a foundation on which future scholars may expand and explore other choral works by MacMillan.
    [Show full text]
  • Daniel Saidenberg Faculty Recital Series
    Daniel Saidenberg Faculty Recital Series Frank Morelli, Bassoon Behind every Juilliard artist is all of Juilliard —including you. With hundreds of dance, drama, and music performances, Juilliard is a wonderful place. When you join one of our membership programs, you become a part of this singular and celebrated community. by Claudio Papapietro Photo of cellist Khari Joyner Photo by Claudio Papapietro Become a member for as little as $250 Join with a gift starting at $1,250 and and receive exclusive benefits, including enjoy VIP privileges, including • Advance access to tickets through • All Association benefits Member Presales • Concierge ticket service by telephone • 50% discount on ticket purchases and email • Invitations to special • Invitations to behind-the-scenes events members-only gatherings • Access to master classes, performance previews, and rehearsal observations (212) 799-5000, ext. 303 [email protected] juilliard.edu The Juilliard School presents Faculty Recital: Frank Morelli, Bassoon Jesse Brault, Conductor Jonathan Feldman, Piano Jacob Wellman, Bassoon Wednesday, January 17, 2018, 7:30pm Paul Hall Part of the Daniel Saidenberg Faculty Recital Series GIOACHINO From The Barber of Seville (1816) ROSSINI (arr. François-René Gebauer/Frank Morelli) (1792–1868) All’idea di quell metallo Numero quindici a mano manca Largo al factotum Frank Morelli and Jacob Wellman, Bassoons JOHANNES Sonata for Cello, No. 1 in E Minor, Op. 38 (1862–65) BRAHMS Allegro non troppo (1833–97) Allegro quasi menuetto-Trio Allegro Frank Morelli, Bassoon Jonathan Feldman, Piano Intermission Program continues Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C.
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • 'Music and Remembrance: Britain and the First World War'
    City Research Online City, University of London Institutional Repository Citation: Grant, P. and Hanna, E. (2014). Music and Remembrance. In: Lowe, D. and Joel, T. (Eds.), Remembering the First World War. (pp. 110-126). Routledge/Taylor and Francis. ISBN 9780415856287 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16364/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] ‘Music and Remembrance: Britain and the First World War’ Dr Peter Grant (City University, UK) & Dr Emma Hanna (U. of Greenwich, UK) Introduction In his research using a Mass Observation study, John Sloboda found that the most valued outcome people place on listening to music is the remembrance of past events.1 While music has been a relatively neglected area in our understanding of the cultural history and legacy of 1914-18, a number of historians are now examining the significance of the music produced both during and after the war.2 This chapter analyses the scope and variety of musical responses to the war, from the time of the war itself to the present, with reference to both ‘high’ and ‘popular’ music in Britain’s remembrance of the Great War.
    [Show full text]
  • Art to Commerce: the Trajectory of Popular Music Criticism
    Art to Commerce: The Trajectory of Popular Music Criticism Thomas Conner and Steve Jones University of Illinois at Chicago [email protected] / [email protected] Abstract This article reports the results of a content and textual analysis of popular music criticism from the 1960s to the 2000s to discern the extent to which criticism has shifted focus from matters of music to matters of business. In part, we believe such a shift to be due likely to increased awareness among journalists and fans of the industrial nature of popular music production, distribution and consumption, and to the disruption of the music industry that began in the late 1990s with the widespread use of the Internet for file sharing. Searching and sorting the Rock’s Backpages database of over 22,000 pieces of music journalism for keywords associated with the business, economics and commercial aspects of popular music, we found several periods during which popular music criticism’s focus on business-related concerns seemed to have increased. The article discusses possible reasons for the increases as well as methods for analyzing a large corpus of popular music criticism texts. Keywords: music journalism, popular music criticism, rock criticism, Rock’s Backpages Though scant scholarship directly addresses this subject, music journalists and bloggers have identified a trend in recent years toward commerce-specific framing when writing about artists, recording and performance. Most music journalists, according to Willoughby (2011), “are writing quasi shareholder reports that chart the movements of artists’ commercial careers” instead of artistic criticism. While there may be many reasons for such a trend, such as the Internet’s rise to prominence not only as a medium for distribution of music but also as a medium for distribution of information about music, might it be possible to discern such a trend? Our goal with the research reported here was an attempt to empirically determine whether such a trend exists and, if so, the extent to which it does.
    [Show full text]
  • Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russi
    ‘I wish for my life’s roses to have fewer thorns’: Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russia Abstract Heinrich Neuhaus (1888—1964) was the Soviet era’s most iconic musicians. Settling in Russia reluctantly he was dismayed by the policies of the Soviet State and unable to engage with contemporary narratives of selfhood in the wake of the Revolution. In creating a new aesthetic territory that defined himself as Russian rather than Soviet Neuhaus embodied an ambiguous territory whereby his views both resonated with and challenged aspects of Soviet- era culture. This article traces how Neuhaus adopted the idea of self-reflective or ‘autobiographical’ art through an interdisciplinary melding of ideas from Boris Pasternak, Alexander Blok and Mikhail Vrubel. In exposing the resulting tension between his understanding of Russian and Soviet selfhood, it nuances our understanding of the cultural identities within this era. Finally, discussing this tension in relation to Neuhaus’s contextualisation of the artistic persona of Dmitri Shostakovich, it contributes to a long- needed reappraisal of his relationship with the composer. I would like to gratefully acknowledge the support of the Guildhall School that enabled me to make a trip to archives in Moscow to undertake research for this article. Dr Maria Razumovskaya Guildhall School of Music & Drama, London Word count: 15,109 Key words: identity, selfhood, Russia, Heinrich Neuhaus, Soviet, poetry Contact email: [email protected] Short biographical statement: Maria Razumovskaya completed her doctoral thesis (Heinrich Neuhaus: Aesthetics and Philosophy of an Interpretation, 2015) as an AHRC doctoral scholar at the Royal College of Music in London.
    [Show full text]
  • All Around the World the Global Opportunity for British Music
    1 all around around the world all ALL British Music for Global Opportunity The AROUND THE WORLD CONTENTS Foreword by Geoff Taylor 4 Future Trade Agreements: What the British Music Industry Needs The global opportunity for British music 6 Tariffs and Free Movement of Services and Goods 32 Ease of Movement for Musicians and Crews 33 Protection of Intellectual Property 34 How the BPI Supports Exports Enforcement of Copyright Infringement 34 Why Copyright Matters 35 Music Export Growth Scheme 12 BPI Trade Missions 17 British Music Exports: A Worldwide Summary The global music landscape Europe 40 British Music & Global Growth 20 North America 46 Increasing Global Competition 22 Asia 48 British Music Exports 23 South/Central America 52 Record Companies Fuel this Global Success 24 Australasia 54 The Story of Breaking an Artist Globally 28 the future outlook for british music 56 4 5 all around around the world all around the world all The Global Opportunity for British Music for Global Opportunity The BRITISH MUSIC IS GLOBAL, British Music for Global Opportunity The AND SO IS ITS FUTURE FOREWORD BY GEOFF TAYLOR From the British ‘invasion’ of the US in the Sixties to the The global strength of North American music is more recent phenomenal international success of Adele, enhanced by its large population size. With younger Lewis Capaldi and Ed Sheeran, the UK has an almost music fans using streaming platforms as their unrivalled heritage in producing truly global recording THE GLOBAL TOP-SELLING ARTIST principal means of music discovery, the importance stars. We are the world’s leading exporter of music after of algorithmically-programmed playlists on streaming the US – and one of the few net exporters of music in ALBUM HAS COME FROM A BRITISH platforms is growing.
    [Show full text]
  • A Selective Lineage of Mexican Bassoonists
    A SELECTIVE LINEAGE OF MEXICAN BASSOONISTS Jorge A. Cruz Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Kathleen Reynolds, Major Professor Eugene Corporon, Committee Member Kimberly Cole Luevano, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of College of Music Victor Prybutok, Dean of the Toulouse Graduate School Cruz, Jorge A. A Selective Lineage of Mexican Bassoonists. Doctor of Musical Arts (Performance), August 2017, 68 pp., 5 tables, 5 figures, references, 25 titles. Spanish settlers brought the precursor to the bassoon, el bajón, to Mexico in the late sixteenth century. Documentation of the bassoon was intermittently from the sixteenth century on, the current playing traditions were not established until the second half of the twentieth century. Bassoon education in Mexico flourished in the 1970’s because several bassoonists became expatriates, and chose to live and work in Mexico for the entirety of their careers. Two major pedagogues, Lazar Stoychev and Jerzy Lemiszka paved the way for the current Mexican bassoon community. This dissertation presents a selective lineage of bassoonists who have held positions in major Mexican orchestras and universities since the mid-twentieth century. The purpose of this study is to recognize the contributions these players and teachers have given to the bassoon world. In recent years, Mexican bassoonists have commissioned hundreds of works for the bassoon and this significant achievement has placed the Mexican bassoon community in an upward trajectory. To place these players in proper historical context, a brief history of classical music institutions in Mexico since the sixteenth century is given.
    [Show full text]
  • STATE SYMPHONIC KAPELLE of MOSCOW (Formerly the Soviet Philharmonic)
    UNIVERSITY MUSICAL SOCIETY in association with Manufacturers Bank STATE SYMPHONIC KAPELLE OF MOSCOW (formerly the Soviet Philharmonic) GENNADY ROZHDESTVENSKY Music Director and Conductor VICTORIA POSTNIKOVA, Pianist Saturday Evening, February 8, 1992, at 8:00 Hill Auditorium, Ann Arbor, Michigan The University Musical Society is grateful to Manufacturers Bank for a generous grant supporting this evening's concert. The box office in the outer lobby is open during intermission for tickets to upcoming concerts. Twenty-first Concert of the 113th Season 113th Annual Choral Union Series PROGRAM Russian Easter Festival Overture, Op. 36 ......... Rimsky-Korsakov Piano Concerto No. 3 in D minor, Op. 30 .......... Rachmaninoff Allegro ma non tanto Intermezzo: Adagio Finale: Alia breve Viktoria Postnikova, Pianist INTERMISSION Orchestral Suite No. 3 in G major, Op. 55 .......... Tchaikovsky Elegie Valse melancolique Scherzo Theme and Variations The pre-concert carillon recital was performed by Bram van Leer, U-M Professor of Aerospace Engineering. Viktoria Postnikova plays the Steinway piano available through Hammell Music, Inc. Livonia. The State Symphonic Kapelle is represented by Columbia Artists Management Inc., New York City. Russian Easter Festival Overture, Sheherazade, Op. 35. In his autobiography, My Musical Life, the composer said that these Op. 36 two works, along with the Capriccio espagnoie, NIKOLAI RIMSKY-KORSAKOV (1844-1908) Op. 34, written the previous year, "close a imsky-Korsakov came from a period of my work, at the end of which my family of distinguished military orchestration had attained a considerable and naval figures, so it is not degree of virtuosity and warm sonority with­ strange that in his youth he de­ out Wagnerian influence, limiting myself to cided on a career as a naval the normally constituted orchestra used by officer.R Both of his grandmothers, however, Glinka." These three works were, in fact, his were of humble origins, one being a peasant last important strictly orchestral composi­ and the other a priest's daughter.
    [Show full text]