Yearbook, 1963
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National Endowment for the Arts Annual Report 1982
Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. 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, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per The diversity of artistic activity in America is cent gain over state appropriations for FY 81. -
University of Pennsylvania Women's Yearbook, 1918
The memorial Library of the Publications of the University of Pennsylvania and her Sons Presented by Mrs. C.H. Clarke BY Fresh,Undergraduate Soph, Junior, RecordSenior COLLEGE HALL Dr. Frank Pierrepoint Graves Dean of the school of Education and OUR VERY GOOD FRIEND byThis record is respectfully deicated The womens Undergraduate Association of The University of Pennsylvania 7'09055 Foreword Rosalind has expressed it, "Good wine needs no bush . " N or does an attractive RECORD require a pr .. Besides, such a superfluity strikingly defies our present principles of conservation . The onlologue y excuse for this infliction is convention and an invitation from a source that cannot be denied . Even a hasty glance through the following pages will reveal their value . It will convince any skeptic of the variety and breadth of interests existing among the women at Pennsylvania . While the brighter and lighter side of academic life is prominent here, one cannot fail to note the underlying industry and seriousnes s of purpose . Organizations and events of an intellectual, cultural and altruistic nature are as much in evidence as those purely social, musical and recreational. It is the earnest hope of all that this breadth of view and catholicity of spirit may continue and develo p with the years . may these interesting chronicles, like character itself, prove not only a history of what ha s been, but a prophecy of what is to be! In the wordy of the poet : "All things transitor y But as symbols are sent : Earth 's insufficienc y ; grows to event ere h The indescribable I here it is done ; The Woman Soul leadeth u s " . -
Download Finding
National Federation of Music Clubs Records This finding aid was produced using the Archivists' Toolkit April 05, 2018 Describing Archives: A Content Standard National Federation of Music Clubs Indianapolis, Indiana National Federation of Music Clubs Records Table of Contents Summary Information ................................................................................................................................. 3 Collection Inventory...................................................................................................................................... 5 History and Governance.......................................................................................................................... 5 Proceedings, Minutes, Reports, Programs.............................................................................................17 Financial/Legal/Administrative..............................................................................................................34 NFMC Publications............................................................................................................................... 59 Presidential papers................................................................................................................................. 78 Activities/Projects/Programs..................................................................................................................82 Scrapbooks.......................................................................................................................................... -
Short Operas for Educational Settings: a Production Guide
SHORT OPERAS FOR EDUCATIONAL SETTINGS A PRODUCTION GUIDE by Jacquelyn Mouritsen Abbott 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 2020 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 Patricia Stiles, Research Director and Chair Gary Arvin Jane Dutton Dale McFadden 10 April 2020 ii Copyright ⃝c 2020 Jacquelyn Mouritsen Abbott iii To my dearest love, Marc – my duet partner in life and in song iv Acknowledgements I am deeply grateful to my research director Patricia Stiles, for her devoted teaching, help, care, and guidance. I have learned so much from you throughout the years and am profoundly grateful for your kindness and your mentorship. I am deeply indebted to Dale McFadden, Gary Arvin, and Jane Dutton—it was a great honor to have you on my committee. I offer sincerest thanks to all of the composers and librettists who sent me scores, librettos, or recordings and who answered my questions and allowed me to use musical examples from their works. These exceptional artists include Dan Shore, Michael Ching, Leanna Kirchoff, Harry Dunstan, Kay Krekow, Milton Granger, Thomas Albert, Bruce Trinkley, John Morrison, Evan Mack, Errollyn Wallen, and Paul Salerni. I also owe a special thank you to ECS publishing for allowing me to use musical examples from Robert Ward’s Roman Fever. Thanks to Pauline Viardot, Jacques Offenbach, and Umberto Giordano for inspiring the musical world for the past 150-plus years. -
Handel Society of Dartmouth College Fire And
HOPKINS CENTER presents Handel Society of Dartmouth College Robert Duff, conductor Fire and Ice with special guests Sally Pinkas piano Elizabeth Keusch soprano Erma Gattie Mellinger mezzo-soprano Paul Shikany tenor David Arnold baritone Hanover Chamber Orchestra This performance is made possible in part by generous support from the Friends of the Handel Society Fund; the Handel Society Foundation of New Hampshire; the Gordon Russell 1955 Fund; and the Gift of Gretchen ’77 and Robert ’76 Wetzel. Saturday, May 19, 2007 • 8 pm Spaulding Auditorium • Dartmouth College Handel Society’s Bicentennial Commemoratives The Handel Society of Dartmouth College 1807-2007 By Heywood Alexander with David Robinson This recently published history, complete with archival recordings, is available for purchase in the lobby at intermission and at the post-concert reception at the Top of the Hop. Proceeds support Handel Society. Fire and Ice By Louise Clearfielda Fire and Ice is not just the name of Andrea Clearfield’s cantata commissioned for the Bicentennial, it’s also the name of a watercolor created for the occasion by the composer’s mother, artist Louise Clearfield. Signed reproductions of the artwork will be available for purchase at the Top of the Hop after tonight’s performance. Proceeds support the newly established Handel Society Commissioning Fund, which will underwrite future commissions. HANDEL SOCIETY OF DARTMOUTH COLLEGE Celebration for the Season November 28, 2006 • 7 pm with special guests Carla Chrisfield, soprano Catherine Hedberg, mezzo-soprano Ray Bauwens, tenor Mark Andrew Cleveland, bass and the Hanover Chamber Orchestra A Salute To Choral Arts Within The Ivy League March 3, 2007 • 7 pm with special guest Yale Camerata Dr. -
Poetry Through Music
2016/17 Season: WordMusic II Poetry Through Music 32nd SEASON 26 February 2017 Settlement Music School Mary Louise Curtis Branch Philadelphia, PA Poetry Through Music – Program Six chamber works composed in response to poetry by Susan Stewart A Sudden Waking (2017)*+ Andrew Rudin Kimberly Reighley – Flutes, Marc Rovetti – Violin, Zachary Mowitz – Cello, Susan Nowicki – Piano Figure to Ground (2017)*+ Eliza Brown String Trio Julia Li – Violin, Meng Wang – Viola, Zachary Mowitz – Cello The Looming Sky (2017)*+ Ke-Chia Chen For Piano Quartet I. Freely II. Rapid Julia Li – Violin, Marvin Moon – Viola, John Koen – Cello, Susan Nowicki – Piano -Intermission- …because it is winter everywhere… (2016)*+ Gerald Levinson For Alto Flute, Viola, Violincello, and Contrabass Kimberly Reighley – Flute, Meng Wang – Viola, John Koen – Cello, Mary Javian – Bass Too light, too light, like a sudden waking... (2016)* Robert Capanna For String Trio Hirono Oka – Violin, Burchard Tang – Viola, John Koen – Cello from quiet scripts (2017)*+ Benjamin Krause For Violin, Viola, Cello, and Piano Marc Rovetti – Violin, Marvin Moon – Viola, Zachary Mowitz – Cello, Susan Nowicki – Piano *NNM Commission +World Premiere A discussion with Susan Stewart, Linda Reichert and the composers will follow the concert. Network for New Music Ensemble Flute Meng Wang Kimberly Reighley Cello Violin John Koen Hirono Oka Zachary Mowitz Marc Rovetti Julia Li Bass Mary Javian Viola Burchard Tang Piano Marvin Moon Susan Nowicki About the Ensemble With its adventurous and innovative programming and virtuoso performances, Network for New Music, under the leadership of Artistic Director Linda Reichert, is committed to breaking new ground in the field of contemporary classical music and building support for new music by engaging in artistic and institutional collaborations and educational activities. -
November 14 Program
Extraordinary Measures 2020-2021 Season Music by Emma O’Halloran & Gregory T.S. Walker 36th Season 14 November 2020, 7:30 pm Virtual Concert Network Ensemble Members Violin Tenor Saxophone & Julia Li Electronics Hirono Oka Matthew Levy Extraordinary Measures • November 14, 2020 Music by Emma O’Halloran & Gregory T. S. Walker PROGRAM ❧ Introduction by Tomas Schuttenhelm, Artistic Director Introduction by Emma O’Halloran Sum of Its Parts Emma O’Halloran Matthew Levy, tenor saxophone & electronics Introduction by Gregory T.S. Walker Selections from Rock, Pop, and Hip-Hop Fantasies Gregory T. S. Walker Boom Badoom Boom (Hooked Bowing) -- Heartbeat runnin' away Evanescence (Te Syncopation) -- Frozen Inside Your Grandad's Clothes (Octaves) -- Search'in in that section Horse Dance (Chromatic Glissando) -- Allegro con Bounce Julia Li, violin Hirono Oka, violin mma O’Halloran is an Irish composer and vocalist. Freely E intertwining acoustic and electronic music, O’Halloran has written for folk musicians, chamber ensembles, turntables, laptop orchestra, symphony orchestra, flm, and theatre. For her efforts, she has been praised by I Care If You Listen editor-in-chief Amanda Cook for writing “some of the most unencumbered, authentic, and joyful music that I have heard in recent years,” and has won numerous competitions, including National Sawdust’s inaugural Hildegard competition and the Next Generation award from Beth Morrison Projects. O’Halloran’s music aims to capture the human experience, exploring complex emotions felt in specifc moments in time. Tis approach has found a wide audience: her work has been featured at the international Classical NEXT conference in Rotterdam, the Prototype Festival in New York, Bang on a Can Summer Music Festival, and MATA Festival. -
Greetings to All Conference Participants
ACKNOWLEDGEMENTS Peggy Holloway, Program Chair Darleen Mitchell, Composers Concert Chair Andrew Houchins, Local Arrangements Chair Emporia State Percussion Ensemble, Tracy Freeze, Director Peter Park of the CMS Executive Office 2010 GREAT PLAINS REGIONAL CONFERENCE PROGRAM COMMITTEE Peggy Holloway, Chair (Dana College) Christine Beard (University of Nebraska Omaha) Stephen Bomgardner (Drury University) Katherine Eberle Fink (University of Iowa) Christopher Greco (Benedictine College) Nora Lewis (Kansas State University) Joseph Perniciaro (Fort Hays State University) Maxine Fawcett-Yeske (Nebraska Wesleyan University) 2010 GREAT PLAINS REGIONAL CONFERENCE COMPOSITION REVIEW COMMITTEE Darleen Mitchell, Chair (University of Nebraska at Kearney) Brooke Joyce (Luther College) Andrew Houchins (Emporia State University) Carl Schimmel (Grinnell, Iowa) Greetings to all Conference Participants: Welcome to the 29th Regional Conference of the College Music Society Great Plains Chapter. This year, we are pleased to feature Dr. Sherrie Tucker, Associate Professor of American Studies at the University of Kansas, as our Keynote Speaker. Dr. Tucker's address will be drawn from her current book project entitled Dance Floor Democracy: The Social Geography of Memory at the Hollywood Canteen. Dr. Tucker’ regionally relevant presentation promises to be a highlight of our weekend. This year’s national topic Music = Communication and its intriguing associated icon will engage our conversation at an open forum following our lunch buffet. Our chapter’s input on the topic will be presented during the Chapter Presidents panel discussion at the next national conference in Minneapolis, as a way of allowing the views of all CMS members to be heard. Several papers at our conference are also related to the common topic. -
Agnes Scott College Bulletin
AGNES SCOTT COLLEGE BULLETIN CATALOGUE NUMBER January 1950 DECATUR, GEORGIA AGNES SCOTT COLLEGE BULLETIN SERIES 47 JANUARY 1950 NUMBER 1 Published quarterly by Agnes Scott College, Decatur, Georgia, entered at second-class matter at the Pott Office at Decatur, Georgia, acceptance for mailing at the special rate of pottage provided for in teetiom 1103 of October 3, 1917, mithorixed on July 18. 1918. AGNES SCOTT COLLEGE BULLETIN Catalogue Number 1949-1950 ANNOUNCEMENTS FOR 1950-1951 CONTENTS College Calendar 5 Board of Trustees 6 Officers of Instruction and Administration 7 Agnes Scott College 16 Location and History, Purpose, Financial Resources, Educational Affiliations Admission of Students 18 Admission to the Freshman Class, Admission to Advanced Standing, Admission of Special Students Administration of the Curriculum 25 Registration, Selection of Courses, Class Attendance, Examinations, Credit Hours, Limitation of Hours, Grad- ing System, Honors Program, Summer Courses, Required Residence, Automatic Exclusion The Bachelor of Arts Degree 30 Requirements for the Degree, Freshman Program, Classi- fication of Students Courses of Instruction 35 Buildings, Grounds, and Equipment 97 Community Activities 100 Extra-Curricular Program, Religious Life, Health Serv- ice, Counseling, Placement Service Financial Information 104 General Fees, Special Fees, Terms, Personal Accounts, Financial Assistance, Special Endowment Funds, Scholar- ships and Awards, Forms of Bequests Alumnae Association 117 Commencement Awards 1949 118 Register of Students 1949-1950 -
Guide to Performing Arts Programs in Elementary and Secondary Schools
DOCUMENT RESUME ED 071 986 SO 005 427 AUTHOR Collier, Nina P.; And Others . TITLE Guide to Performing Arts Programs in Elementary and Secondary Schools. Final Report. INSTITUTION New Mexico Univ., Albuquerque.; Youth Concerts ofNew Mexico, Inc., Alcalde. SPONS AGENCY Office of Education (DREW), Washington, D.C.Bureau of Research. BUREAU NO BR-8-G-045 PUB DATE 31 May 70 GRANT _OEG-7-9-410045-0095(010) NOTE 310p. EDRS PRICE MF-80.65 BC-813.16 DESCRIPTORS Affective Objectives; Cognitive Objectives;Dance; Drama; *Educational Objectives; Educational Philosophy; Elementary Education; Evaluation; *Guidelines; *Music; Opera; Pantomime; Programs; Secondary Education; *Theater Arts ABSTRACT Artist-teachers, administrators, and other educators will find the elementary and secondary guidelinesuseful in formulating the co,jectives and methods of teachingthe performing arts. The underlying assumption is that providing childrenwith opportunities to observe, listen, and react to excitingperformances leads to educational experiences, both affectiveand cognitive, which are of inestimable value. Three major parts emphasize the necessity for cooperation among educators, artists, administrators,and parents. Part one explains the principles, objectives, andphilosophy of the programs and, further, offerssome effects and evaluation of the theatre arts programs. Outstanding examples of selectedprograms are described in Part II. Although the emphasis is on musicprograms, other topics dealt with are drama, dance, pantomime,poetry, and puppetry. In Part III, practical suggestionsare provided for implementing and using performing arts programs in the school. Information is given on how to design and buildprograms and on the role of school personnel and the school itself. Appendicesinclude chapter supplements, sources, and selected bibliographies.(SJM) U S DEPARTMENT OF HEALTH co FINAL REPORT EDUCATIOr. -
The Cliff's Edge (Songs of a Psychotic) on Songflower Press
THE CLIFF’S EDGE (SONGS OF A PSYCHOTIC) BY MARGARET GARWOOD: AN EXPLORATION DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Anne Christopherson, M.M. ***** The Ohio State University 2004 Document Committee: Approved by Dr. J. Robin Rice, Adviser Dr. R. J. David Frego Dr. C. Patrick Woliver Adviser Music Graduate Program ABSTRACT American composer, Margaret Garwood (b. 1927) possesses a gift for lyrical vocal writing and a deft hand with instrumental colors and textures. She has been the recipient of fellowships and awards from the National Endowment for the Arts, the MacDowell Colony, ASCAP, AMC, the National Opera Institute, and the National Federation of Music Clubs. Ms. Garwood’s compositional career is unique in that she did not begin to compose until her mid-thirties. In 1964, she and Miriam Gideon began a student-mentor relationship lasting until Gideon’s death in 1996. Before receiving her Master’s degree in Composition from the University of Arts in Philadelphia, Pennsylvania, she had already written two operas, several song cycles, a ballet, and a few smaller works. This document is an exploration of her song cycle, The Cliff’s Edge (Songs of a Psychotic). It was composed in 1969 but wasn’t published until 1988 when she established Sunflower Press. Hildegard Publishing Company, now under ownership of Theodore Presser, distributes most of her works. Individual studies of each song include explorations of the poetry, rhythm, vocal line, and accompaniment. The text originates from a collection of poetry of the same title by Eithne Tabor. -
Catalogue Orchestral Music by Historical Women Composers
ORCHESTRAL MUSIC BY HISTORICAL WOMEN COMPOSERS Alphabetical Catalogue; Chronological Index; Line-up Connections Orchestration numbers: woodwinds – brass – percussion, etc - strings Andrée, Elfrida (b Visby 19 Feb 1841; d Göteborg 11 Jan 1929): Fritiof Suite (1904; 3 3 3 3 - 4 3 3 1 – timp – perc – hp - str) Edition Reimers or Edition Suecia http://www.mic.se/avd/mic/prod/micv6eng.nsf/docsbycodename/soekresultat?opendocument&fra ga=elfrida+andree CD Sterling: B000024Q3Z Archer, Violet (b Montreal 24 Apr 1913; d Ottawa 21 Feb 2000) Scherzo sinfonico (1940; 4’; 3 2 2 2 – 2 4 3 1 – timp – perc – harp – str).Symphony Ni 1 (1946; 32’; 3 2 2 2 – 2 2 3 1 – timp – perc – str). Piano Concerto (1956; 17’; solo pf; 2 2 2 2 – 2 2 0 0 – timp – per c – str). Divertimento (1957; 8’; 2 2 2 2 – 2 2 3 0 – timp – perc –str). Violin Concerto (1959; 30’; solo vn; 2 2 2 2 – 2 2 2 0 – timp – perc – str). Clarinet Concerto (1960; 21’; solo cl; 2 2 1 2 – 3 2 0 0 – str). Sinfonia (1969; 14’; 2 3 2 2 – 3 4 3 1 –timp – perc – str). http://musiccentre.ca/search/node/violet%20archer CMC B00008ZGT3 Canadian portraits. Arrieu, Claude b Paris 30 Nov 1903; d Paris 7 Mar 1990): Concerto for 2 pianos (1932; 14’; 2 2 2 2 – 2 2 0 0 – perc- timp – str) http://www.billaudot.com/en/catalog.php#haut . Ballet La Statue (1968; 28’; 3 2 2 2 – 2 3 2 0 – 2 perc- pf – str). Violin Concerto No 2 in D minor (1949; 22’; 2 2 2 2 – 2 2 0 0 – perc – harp – str) http://www.alphonseleduc.com/EN/orchestre_recherche_oeuvres.php?orchestre_categorie=&soli_i nstru=&compositeur=ARRIEU+Cl.&titre=&editeur=&valider=valider&page=1 Aulin, Valborg (b Gävle 9 Jan 1860; d Örebro 13 Mar 1928): Scenes Parisiennes (1886; 20’; 2 2 2 2 – 4 2 3 1 – timp –perc – hp – str.