School Catalog, 1960-1961
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The New York Concert Singers
THE MASK New World Records 80547 New York Concert Singers Virgil Thomson (1896–1990) led a double life—as a composer and a critic. Besides bringing a highly original and typically American sensibility to his musical works, he was for many years a respected voice of high musical taste as chief music critic for the New York Herald Tribune. When he wrote that he admired the music of Erik Satie for its "consequence, quietude, precision, acuteness of auditory observation, gentleness, sincerity, and directness of statement," he might have been describing his own personality as a composer. Despite Thomson's years of study in Paris and musical collaborations with European intellectuals, the influence of nineteenth-century American church and popular music gives this Missouri-born composer's music a decidedly Midwestern accent. Thomas Campion (1567–1620) is one of the great poets of the English language, and he set his own poetry to music in dozens of solo songs accompanied by lute. In the original, solo version of "Four Songs to Poems by Thomas Campion" (composed in the summer of 1951), Virgil Thomson re- created the sound-world of the Elizabethan lute song with a voice and harp; in the choral arrangement, there is also something of the sensuous blending of voices that one hears in an Elizabethan consort of viols. Both versions make subtle use of an obbligato clarinet and viola— these two instruments, which sound in the same pitch range as the human voice, provide "other voices" of melodic commentary; they also recede and blend with the harp to enhance the lute effect. -
School Catalog, the Academy, 1974
Published by Philadelphia Musical Academy, 1974 313 South Broad Street Philadelphia, Pennsylvania 19107 Preface The Philadelphia Musical Academy Catalogue is in four sections —each of which is used also separately as a brochure for its respective area. In the front of each section there is an alphabetical Table of Contents for that section. For each section, an identifying symbol is used. The symbol for this section ^J is aPorrectus; a neume from Gregorian Chant notation. Table of Contents Academy Facilities 4 Administration and Staff — listed it Biographical Notes — Faculty and Administration 13 Biographical Notes — Board of Directors 23 Board of Directors — listed 12 Electronic Music Center 5 Faculty — listed by area of specialty 8 History of the Academy 3 Map of Center City Cultural Institutions 26 Objectives of the Academy 2 Preparatory and Extension Division 5 Preparatory and Extension Division Faculty 10 Student Life in Philadelphia 25 Student Services — Placement Office, Concerts & Lectures, Counseling Services 30 N 2 aS^ Objectives of the A properly focused study of music reveals the subject both as a profession Academy andadiscipline. It develops skill, while fostering understanding; it provides information and preserves meaning; it supplies facts and seeks knowledge. Such a study insures respectforthe legacy of tradition and yet fosters the desire for the adventure of discovery. Two ingredients are essential to an institution dedicated to these aims: A professionally active faculty capable of serving as mentor and exemplar and a program of study to which the faculty is totally committed. These are abundantly represented at the Philadelphia Musical Academy. This is not to say that professional development is the only goal of the Academy. -
NIEWEG Chart: Harp with Strings
NIEWEG Chart: Harp with Strings A non-exhaustive recommended list of 1. Harp solo with string orchestra or string ensemble 2. String orchestra including Harp Details from Daniels Orchestral Music Online https://daniels-orchestral.com/other-resources/subscription-levels/ and research by C. F. Nieweg. For current publisher contacts see Daniels Orchestral Music Online Publisher catalog listings are not consistent as Score may refer to the Conductor Full Score or to the Solo Harp part. Many publishers now use ZINFONIA to supply rental parts. Conductors and Librarians need to activate an account with them. https://www.zinfonia.com/ Additions and corrections to this Chart are welcome: Proofer1 (at) comcast (dot) com ========================= 1. Harp Solo with Strings Adamo, Mark (b Philadelphia, 1962). American composer of Italian descent Regina coeli: from Four angels - arranged from his Concerto for Harp and Orchestra Solo Harp and string quintet <2013> 8' Score (11 pp.) + 6 parts; 31 cm Pub: Schirmer - Aho, Kalevi (b Forssa, FI, 9 Mar 1949) Finnish Mearra, chamber concerto for harp and 13 strings (43321) <2016> 20' Pub: Fennica Gehrman - Alwyn, William (b Northampton, UK, 7 Nov 1905; d Southwold, UK, 11 Sept 1985). English Lyra angelica <1954> Solo Harp, str I. "I looke for angels' songs, and heare Him crie" II. "Ah! who was He such pretious perills found?" III. "And yet, how can I heare Thee singing goe?" IV. "How can such joy as this want words to speake?" Pub: Lengnick - Åm, Magnar (b. Trondheim, NO, 9 April 1952) Gratia <1994-Rev. 1.8.96> ca. 10' Harp and strings Commissioned: Willy Postma (b Amsterdam), first performed with her as a soloist at the Sixth World Harp Congress in Tacoma, WA, USA, 1996 http://www.magnaram.com/ Composer contact: magnar (at) magnaram (dot) com 1 score (22 pp) ; 30 cm + 1 part (9 pp) ; 37 cm Pub: Oslo: Norsk Musikinformasion ©1996 YouTube: https://www.youtube.com/watch?v=_ViQow_o8fU - Bax, Arnold (b Streatham, London, UK, 8 Nov 1883; d Cork, IR, 3 Oct 1953). -
Natalie Hinderas and Leota Palmer Papers
Natalie Hinderas and Leota Palmer papers G94.025 Finding aid prepared by Celia Caust-Ellenbogen and Faith Charlton through the Historical Society of Pennsylvania's Hidden Collections Initiative for Pennsylvania Small Archival Repositories. Last updated on April 28, 2014. African American Museum in Philadelphia Natalie Hinderas and Leota Palmer papers Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 6 Controlled Access Headings..........................................................................................................................6 - Page 2 - Natalie Hinderas and Leota Palmer papers Summary Information Repository African American Museum in Philadelphia Creator Hinderas, Natalie Title Natalie Hinderas and Leota Palmer papers Call number G94.025 Date [bulk] 1940-1989 Date [inclusive] 1904-1993 -
NWHP 2016 Democratic Convention
Welcome Democratic Delegates and Visitors to Philadelphia! Learn here how Pennsylvania has written women back into American history and the value of “Remembering the Ladies” as Abigail Adams cautioned us March 31, 1776. NATIONAL WOMEN’S HISTORY PROJECT 2016 DEMOCRATIC DELEGATE CONVENTION GUIDE TO WOMEN’S HISTORY ASSETS In Philadelphia and Pennsylvania NATIONAL WOMEN’S HISTORY PROJECT 2016 Democratic Delegate Convention Guide To Women’s History Assets in Philadelphia and Pennsylvania The National Women’s History Project (NWHP) is a nonprofit, nonpartisan organization whose mission is to recognize and celebrate the diverse and historic accomplishments of women by providing informational services and educational and promotional materials. We work to Write Women Back Into History. What You Should Know About Pennsylvania Women. The Democratic Party is about to nominate the first woman as any major party nominee, an historic FIRST. Pennsylvania women have been leaders in just about every field of endeavor. Several firsts belong to Pennsylvania women, including the first woman industrialist, Rebecca Lukens (1794-1854), who took over her family’s iron business in 1825; Pearl Buck (1892-1973), the first woman to win both the Nobel and Pulitzer prizes in literature; Betsy Ross (1752-1836), viewed as the first to make an American flag; Dolley Payne Todd Madison (1768-1849), who pioneered the first public role for a First Lady; Loretta Perfectus Walsh (1896-1925), the first woman allowed to serve as a woman in any of the U.S. armed forces in a role other than a nurse in 1917; Violet Oakley (1874- 1961), the first woman to receive a commission for her murals in 1900; Crystal Bird Faucett (1894-1965), the first African-American woman elected to a state legislature in 1938, and C. -
TAYLOR-MASTERSREPORT-2017.Pdf (156.6Kb)
Copyright by X’ene S. Taylor 2017 The Report committee for X’ene S. Taylor Certifies that this is the approved version of the following report: Classically Black APPROVED BY SUPERVISING COMMITTEE: ________________________________________ Charles Carson, Supervisor __________________________________________ Andrew Dell’Antonio, Co-Supervisor Classically Black by X’ene S. Taylor Report Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Masterr of Music The University of Texas at Austin August 2017 Classically Black X’ene S. Taylor, M.M. The University of Texas at Austin, 2017 SUPERVISORS: Charles Carson, Andrew Dell’Antonio This master’s report will revisit Saidiya Hartman’s account of how to 1) combat violence found in the archives and 2) mitigate silences imposed on marginalized bodies in her essay, “Venus in II Acts.” This work contributes to public musicology because it impacts the way scholars interact with musicians who are historically othered. Through attention to the lives and works of Philippa Schuyler, Hazel Scott and Nina Simone, I ask critical questions like how can we view these pianists’ lives in a way that does not reinforce canonic violence. I simultaneously weave my personal narrative into this discussion as I find myself occupying the spaces of researcher, performer and all the interstices found within the classical piano tradition. Through the work of Hartman, as well as Julia J. Chybowski, Karen Chilton and Elizabeth Taylor Greenfield, I argue that Venus is a pianist like Schuyler, Scott and Simone whose usefulness is often tied to diversity within classical music's canon. -
Concert: Gershwin by Request
Ithaca College Digital Commons IC All Concert & Recital Programs Concert & Recital Programs 2-21-1989 Concert: Gershwin By Request Leon Bates Benjamin Matthews Eddye Pierce Young Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Bates, Leon; Matthews, Benjamin; and Young, Eddye Pierce, "Concert: Gershwin By Request" (1989). All Concert & Recital Programs. 7659. https://digitalcommons.ithaca.edu/music_programs/7659 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons IC. Ithaca College School of Music ITHACA- ITHACA COLLEGE CONCERTS '88-'89 GERSHWIN BY REQUEST LEON BATES, Plano BENJAMIN MATTHEWS, Bass-Baritone EDDYE PIERCE YOUNG, Soprano WAYNE SANDERS, Plano "An Evening of the Music of George Gershwin" Three Preludes I. Allegro ben ritmato e deciso II. Andante con moto e poco rubato Ill. Allegro ben ritmato e deciso Three Songs Fascinatin' Rhythm Somebody Loves Me Liza Leon Bates Selections from Porgy and Bess Summertime A Woman Is a Sometime Thing My Man's Gone Now I Got Plenty o'nuttin' Strawberry Chant Bess, You Is My Woman Now Benjamin Matthews, Eddye Pierce Young, Wayne Sanders INTERMISSION Three Songs The Man I Love I Got Rhythm Strike Up the Band Leon.Bates Selections from Porgy and Bess It Takes a Long Pull to Get There There's Boat Oat's Leavin' Soon for New York I Love You Porgy Oh Lawd, I'm on My Way Benjamin Matthews, Eddye Pierce Young, Wayne Sanders Rhapsody in Blue (solo piano version) Leon Bates * * * * * WALTER FORD HALL AUDITORIUM Tuesday, February 21, 1989 8:15 p.m. -
The Ursinus Weekly, January 11, 1965
Ursinus College Digital Commons @ Ursinus College Ursinus Weekly Newspaper Newspapers 1-11-1965 The rsinU us Weekly, January 11, 1965 Craig S. Hill Ursinus College Helen Simmons Ursinus College John Bradley Ursinus College Sue Hartenstine Ursinus College Candace Sprecher Ursinus College See next page for additional authors Follow this and additional works at: https://digitalcommons.ursinus.edu/weekly Part of the Cultural History Commons, Higher Education Commons, Liberal Studies Commons, Social History Commons, and the United States History Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Hill, Craig S.; Simmons, Helen; Bradley, John; Hartenstine, Sue; Sprecher, Candace; Anderson, Alexis C.; Atkinson, George; Walker, Samuel; Dingman, Carlton; Murphy, Marianne; and Rader, Linda, "The rU sinus Weekly, January 11, 1965" (1965). Ursinus Weekly Newspaper. 238. https://digitalcommons.ursinus.edu/weekly/238 This Book is brought to you for free and open access by the Newspapers at Digital Commons @ Ursinus College. It has been accepted for inclusion in Ursinus Weekly Newspaper by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Authors Craig S. Hill, Helen Simmons, John Bradley, Sue Hartenstine, Candace Sprecher, Alexis C. Anderson, George Atkinson, Samuel Walker, Carlton Dingman, Marianne Murphy, and Linda Rader This book is available at Digital Commons @ Ursinus College: https://digitalcommons.ursinus.edu/weekly/238 r5tnu~ -
National Endowment for the Arts Annual Report 1979
National Endowment for the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1979. Respectfully, Livingston L. Biddle, Jr. Chairman The President The White House Washington, D.C. February 1980 1 Contents Chairman’s Statement 2 The Agency and Its Functions 4 National Council on the Arts 5 Programs Deputy Chairman’s Statemen~ 8 Dance 10 Design Arts 30 Expansion Arts 50 Folk Arts 84 Literature 100 Media Arts: Film/Radio/Television 118 Museum 140 Music 172 Opera-Musical Theater 202 Special Projects 212 Theater 222 Visual Arts 240 Policy and Planning Challenge Grants 272 Evaluation 282 International/Fellows 283 Research 286 Special Constituencies 288 Office for Partnership Executive Director’s Statement 296 Education (Artists-in-Schools) 299 Federal-State Partnership (State Programs) 305 Intergovernmental Activities 312 Financial Summary 314 History of Authorizations and Appropriations 315 Chairman’s Statement A Common Cause for the Arts isolated rural coraraunities to the barrios and Perhaps nothing is raore enviable--or raore ghettoes of our inner cities. The dreara---that daunting--than the opportunity to raake a prac of access for all Araericans to the best in art- tical reality out of a visionary dreara. I happen is becoraing reality. to have this unusual privilege. As special assist But reality, as we all know, is a thorny ant to Senator Claiborne Pell frora 1963 to thing, with catches, snares and tangles. -
MU Newsletter, January 29, 1987 Office Ofni U Versity Relations
Marshall University Marshall Digital Scholar MU Newsletter 1987-1999 Marshall Publications 1-29-1987 MU NewsLetter, January 29, 1987 Office ofni U versity Relations Follow this and additional works at: http://mds.marshall.edu/oldmu_newsletter Recommended Citation Office of University Relations, "MU NewsLetter, January 29, 1987" (1987). MU Newsletter 1987-1999. Paper 43. http://mds.marshall.edu/oldmu_newsletter/43 This Article is brought to you for free and open access by the Marshall Publications at Marshall Digital Scholar. It has been accepted for inclusion in MU Newsletter 1987-1999 by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. r«J.! NEWSLETTER ••••• OFFICE OF UNIVERSITY RELATIONS • HUNTINGTON, WEST VIRGINIA 25701 • JANUARY 29, 1987 Speakers set for Black History Month Appearances by a commiss ioner on the United States to her position on the Civil Ri ghts Commission by a fed- Commission on Civil Rights and a world renowned clas- eral court, after being dismissed by Pres ident Reagan. sical pianist will highlight Marshall University's obser- She is a former president of the American Historians vance of Black History Month this February. Association and previously se rved as the United States Dr. Mary F. Berry, a commissioner on the United States assistant secretary for education in the Department of Commission on Civil Rights and a professor of history Health, Education and Welfare. She has received numer- and law at Howard University, will be a guest speaker ous honorary degrees and awards in recognition of her at Marshall University on Thursday, Feb. -
In 1971, After the Release of Pianist Natalie Hinderas
NWCR721 Gay American Composers David Del Tredici: Fantasy Pieces (1960) ................ (9:28) 10. I – Adagio ................................................. (1:56) 11. II – Poco allegretto ................................... (1:37) 12. III – Allegro minacciando (…Diabolique) (1:25) 13. IV – Largo ................................................ (4:34) David Del Tredici, piano 14. Robert Maggio: Desire-Movement from Two Quartets (1993) ........................................... (7:28) Bart Feller, Kathleen Nester, flute; Fred Sherry, Jonathan Spitz, cello; Bradley Lubman, conductor 15. Conrad Cummings: In the Department of Love (1988) ......................................................... (3:59) Text by James Sienna Cummings Ensemble: Dora Ohrenstein, soprano; Larry Adams, baritone; Gregory Fulkerson, violin; Daryl Goldberg, cello; Andrew Sterman, woodwinds; Conrad Cummings, keyboard 16. William Hibbard: Bass Trombone, Bass Clarinet, Harp (1973) .......................................... (8:01) Jon English, bass trombone; Charles West, bass clarinet; Motter Forman, harp; William Hibbard, 1. Robert Helps: Hommage à Rachmaninoff (1972) (2:13) conductor Robert Helps, piano 17. Jerry Hunt: Excerpt from Transform 2. Lee Hoiby: “I Was There” from Five Songs (Stream) (1977) ................................................... (3:16) on Poems of Walt Whitman (1988) ..................... (3:03) Jerry Hunt, voice and original instruments Peter Stewart, baritone, Lee Hoiby, piano 18. Lou Harrison: Serenade for Betty Freeman & Lou Harrison: -
National Endowment for the Arts Annual Report 1981
National Endowment for the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1981. The fiscal year covered in this report preceded my tenure as chairman. Respectfully, F.S.M. Hodsoll Chairman The President The White House Washington, D.C. May 1982 Contents Chairman’s Statement 3 The Agency and Its Functions 4 National Council on the Arts 5 Programs 6 Dance 8 Design Arts 38 Expansion Arts 64 Folk Arts 118 Inter-Arts 140 International 166 Literature 170 Media Arts: Film/Radio/Television 192 Museum 228 Music 282 Opera-Musical Theater 358 Theater 374 Visual Arts 406 Policy and Planning 462 Challenge Grants 464 Endowment Fellows 474 Research 478 Special Constituencies 480 Office for Partnership 486 Artists in Education 488 Partnership Coordination 497 State Programs 500 Financial Summary 505 History of Authorizations and Appropriations 507 I , i li,ili~il|illlililil|liilil ill, i ,,I, llili,, lil I i iill,a liiilili,L,,i I i,i,i i,i,i ..... ii, 3 Chairman’s Statement sympathetic to the very real needs of our cultural What follows reflects much more than an outline of programs and a listing of grants. Rather, it organizations." Calling on us to redouble our efforts to leverage new private support for the presents a picture ~f the vitality of America’s artistic life--stretching from Alaska to Florida, arts, the President quoted Henry James: "It is art that makes life, makes interest, makes impor from Maine to Hawaii.