Canada's Choral Music Development
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Walter Pitman Fonds Inventory #241
page 1 Walter Pitman fonds Inventory #241 File: Title: Date(s): Note: Call Number: 2009-049/001 (1) C.M.C. [Canadian Music Centre] [ca. 2002-2004] Freedman - Morrison - The Music Makers (2) Donors- C.M.C., Laidlaw, Dundurn Press : 1999-2006 correspondence re. Music Makers (3) Gail Dixon Musical Analysis : [re. Freedman] ca. 2003 (4) Mary Morrison [biographical notes] [2002-2004?] (5) Harry Freedman basic materials - H.F. biography - CV ca. 1989, 1996. 2002-2005 (6) Thematic materials - H.F. themes : research notes ca. 1977-2003 (7) Interviews - H.F. [Freedman] and others ca. 2003-2004 (8) Research notes - CBC Archives - Freedman daughters ca. 2005 (9) Lyric Arts Trio - Compositions [60s-90s] : research notes for Freedman work (10) David Jaegar : Freedman research and drafts ca. 2005 (11) [Freedman] : research notes ca. 2003 (12) [Freedman] : research notes and clippings ca. 196- (13) C.M.C. Archives 1970s : Freedman research notes and ca. 197- clippings (14) [Freedman] : research clippings ca. 198- (15) [Freedman] : research clippings ca. 199- (16) Notes - National Archives [of Canada] 2004 Call Number: 2009-049/002 (1) National Archives [of Canada] : research notes 2004 (2) National Archives [of Canada] : research notes 2004 (3) National Archives [of Canada] : research notes ca. 2004 (4) Early scribblings [mostly Freedman] (5) Early written materials - Freedman : manuscript draft ca. 2004 1 of 2 (6) Early written materials - Freedman : manuscript draft ca. 2004 2 of 2 (7) Harry and Mary : Making music in Canada's twentieth 2004-2005 -
A Note from the Composer
Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director Friday, December 6, 2019 at 7:30pm Saturday, December 7, 2019 at 2:00pm Saturday, December 7, 2019 at 7:30pm Constantine Kitsopoulos, conductor Resonance Youth Choir Bob Anderson, director As a courtesy to musicians, guest artists, and fellow concertgoers, please put your phone away and on silent during the performance. A NOTE FROM THE COMPOSER Ever since Home Alone appeared, it has held a unique place in the affections of a very broad public. Director Chris Columbus brought a uniquely fresh and innocent approach to this delightful story, and the film has deservedly become a perennial at holiday time. I took great pleasure in composing the score for the film, and I am especially delighted that the magnificent Toronto Symphony Orchestra has agreed to perform the music in a live presentation of the movie. I know I speak for everyone connected with the making of the film in saying that we are greatly honoured by this event…and I hope that the audience at this performance will experience the renewal of joy that the film brings with it, each and every year. John Williams DECEMBER 6 & 7, 2019 17 TWENTIETH CENTURY FOX Presents A JOHN HUGHES Production A CHRIS COLUMBUS Film HOME ALONE Starring MACAULAY CULKIN JOE PESCI DANIEL STERN JOHN HEARD and CATHERINE O’HARA Music by JOHN WILLIAMS Film Editor RAJA GOSNELL Production Designer JOHN MUTO Director of Photography JULIO MACAT Executive Producers MARK LEVINSON & SCOTT ROSENFELT and TARQUIN GOTCH Written and Produced by JOHN HUGHES Directed by CHRIS COLUMBUS Soundtrack Album Available on CBS Records, Cassettes and Compact Discs Color by DELUXE® Tonight’s program is a presentation of the complete filmHome Alone with a live performance of the film’s entire score, including music played by the orchestra during the end credits. -
The Canadian Clarinet Works Written for James Campbell
THE CANADIAN CLARINET WORKS WRITTEN FOR JAMES CAMPBELL by Laura Chalmers Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 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 __________________________________________ Eli Eban, Research Director and Chair __________________________________________ James Campbell __________________________________________ Kathleen McLean __________________________________________ Peter Miksza September 29, 2020 ii Acknowledgements I would like to express my gratitude to the following people, without whom this document would not have been completed: To Prof. Campbell, Allan Gilliland, Phil Nimmons, Timothy Corlis, and Jodi Baker Contin, who gave their time and shared their recollections with me. To my wonderful friends, Emory Rosenow, Laura Kellogg, Mark Wallace, and Lilly Haley- Corbin, who not only read through this entire document to correct mistakes, but who also encouraged me and bolstered me as I wrote this paper. To my family, Mom, Marcus, and Leisha, who have always supported me and continue to do so through my Doctorate. Finally, to my husband, Jacob Darrow. This is as much his success as it is mine. iii Table of Contents Acknowledgements .................................................................................................................................... -
What Is Folk Music? Dave Spalding's Discussion Paper
WHAT IS FOLK MUSIC? Throughout the weekend of the Society’s 1987 Annual General Meeting in Quebec City, there was considerable discussion among the Directors o f major policy concerns within the CFMS. This discussion returned again and again to how (or even, whether) folk music should be defined. Accordingly, a committee was formed to look into the question of defining folk music, particularly with regard to the Society’s policies. Due to many exigencies, the committee was unable to meet face-to-face and a a whole during the year, but fortunately David Spalding prepared and distributed a discussion paper, to which a number of the committee's members responded in writing. It was decided to publish both Spalding’s paper and the responses in the Journal, which because of the length and nature of the submissions seemed the most appropriate vehicle for sharing these concerns. When the committee was originally formed, it was emphasized that issues surrounding the definition of folk music were not temporary but rather ongoing for the Society, and that some clear direction was desirable as a basis for framing the Society’s policies. In this spirit, the following discussion paper by David Spalding and the three responses (by Anne Lederman, Ken Persson, and Jay Rahn) are offered to our readership. DAVE SPALDING’S DISCUSSION PAPER Introduction At the Quebec meeting, the board spent a lot of time discussing “what is folk music?” Some members felt that to develop a definition that could be widely accepted by the society would help in dealing with the prob lems of the society; others felt that development of a definition was not either possible or of practical assistance, but that it was an interesting question and that CFMS should continue to provide a forum in which such questions could be discussed. -
Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director
Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director Wednesday, April 17, 2019 at 8:00pm Thursday, April 18, 2019 at 8:00pm Saturday, April 20, 2019 at 8:00pm Juanjo Mena, conductor Joélle Harvey, soprano Marie-Nicole Lemieux, contralto Amadeus Choir Elmer Iseler Singers Gustav Mahler Symphony No. 2 in C Minor “Resurrection” I. Allegro maestoso II. Andante moderato III. In ruhig fliessender Bewegung IV. Urlicht. Sehr feierlich, aber schlicht V. Im Tempo des Scherzos There will be no intermission during this performance. As a courtesy to musicians, guest artists, and fellow concertgoers, please put your phone away and on silent during the performance. APRIL 17, 18 & 20, 2019 15 ABOUT THE WORKS Gustav Mahler Symphony No. 2 in C Minor “Resurrection” Born: Kalischt, Austria, July 7, 1860 77 Died: Vienna, Austria, May 18, 1911 min Composed: 1887–1894 Gustav Mahler conducted the first complete was the second movement funeral march performance of Symphony No. 2 himself, in from Beethoven’s Symphony No. 3. But his Berlin on December 13, 1895. concept, brought to life through the resources of the enormous orchestra he has chosen, During the closing months of 1887 and the is far angrier. Still, he repeatedly leavens it beginning of 1888, Mahler had worked feverishly with moments of peaceful consolation. The on two compositions simultaneously: his overriding sense of tragic momentum, however, First Symphony; and Totenfeier, an orchestral carries right through to the conclusion. funeral march. He finished them both before the latter year was out. Three years later, he The first of the three intermezzi is a gentle played Totenfeier on the piano for the eminent country dance. -
Chapters in Canadian Popular Music
UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA Katedra anglistiky a amerikanistiky Ilona Šoukalová Chapters in Canadian Popular Music Diplomová práce Vedoucí práce: Mgr. Jiří Flajšar, Ph.D. Olomouc 2015 Filozofická fakulta Univerzity Palackého Katedra anglistiky a amerikanistiky Chapters in Canadian Popular Music (Diplomová práce) Autor: Ilona Šoukalová Studijní obor: Anglická filologie Vedoucí práce: Mgr. Jiří Flajšar, Ph.D. Počet stran: 72 Počet znaků: 138 919 Olomouc 2015 Prohlašuji, že jsem diplomovou práci na téma "Chapters in Canadian Popular Music" vypracovala samostatně pod odborným dohledem vedoucího práce a uvedla jsem všechny použité podklady a literaturu. V Olomouci dne 3.5.2015 Ilona Šoukalová Děkuji vedoucímu mé diplomové práce panu Mgr. Jiřímu Flajšarovi, Ph.D. za odborné vedení práce, poskytování rad a materiálových podkladů k práci. Poděkování patří také pracovníkům Ústřední knihovny Univerzity Palackého v Olomouci za pomoc při obstarávání pramenů a literatury nezbytné k vypracování diplomové práce. Děkuji také své rodině a kamarádům za veškerou podporu v době mého studia. Abstract The diploma thesis deals with the emergence of Canadian popular music and the development of music genres that enjoyed the greatest popularity in Canada. A significant part of the thesis is devoted to an investigation of conditions connected to the relation of Canadian music and Canadian sense of identity and uniqueness. Further, an account of Canadian radio broadcasting and induction of regulating acts which influenced music production in Canada in the second half of the twentieth century are given. Moreover, the effectiveness and contributions of these regulating acts are summarized and evaluated. Last but not least, the main characteristics of the music style of a female singer songwriter Joni Mitchell are examined. -
Season of Events
2017-2018 season of events Celebrating the Choral and Vocal Music of Imant Raminsh with the UofT Symphony Orchestra IMANT RAMINSH Wilma and Clifford Smith Visitor in Music composer and conductor HILARY APFELSTADT conductor Saturday, October 21, 2017 7:30 pm MacMillan Theatre, 80 Queen’s Park The Faculty of Music gratefully acknowledges the generous support of our presenting sponsors Program Composer Introduction – Dean Don McLean Women’s Chorus Psalm 121 Rise up my love Maxime Despax, viola Elaine Choi and Tracy Wong, conductors Men’s Chorus From The Dream We Carry V. Don’t Give Me the Whole Truth VI. The Dream We Carry Mark Ramsay, conductor Vocal Solo Three Spanish Lyrics Renae Wolfesburger, soprano (from the studio of Laura Tucker) Andrea Van Pelt, collaborative pianist Women’s Chamber Choir Vestigia Olivia LaPointe and Elisabeth Dubois, soloists Cassandra Leshchyshyn, violin Livia Coburn, cello In the Beginning Eszter Horváth, conductor Women’s Chamber Choir continued From Symphony of Psalms, No. 6 Seigneur, tous sais tout de moi Marco De Conno and Zachary Goldstein, clarinets (brief interval – in the hall) MacMillan Singers From Five Latvian Folksongs 1. Tek Saulīte (Hasten, Sun) Julia Frodyma, soloist 3. Trīs Januas Māsas (Three Lovely Sisters) Magnificat I. Magnificat – Et Exultavit II. Quia respexit III. Fecit potentiam IV. Suscepit Israel V. Gloria patri Jennifer Routhier, mezzo-soprano (from the studio of Laura Tucker) Ave verum corpus Imant Raminsh, conductor Intermission Missa Brevis in C minor I. Kyrie II. Gloria III. Sanctus – Benedictus IV. Agnus Dei Women’s Chamber Choir and Women’s Chorus Amy Moodie, soprano (from the studio of Lorna MacDonald) University of Toronto Symphony Orchestra Thank you to Imant Raminsh for his stellar music; to the Faculty of Music for selecting Mr. -
Canadian University Music Society NEWSLETTER
NEWSLETTER : CanadianSpring University Music Society 12 NEWSLETTER : Canadian University Music Society ANNUAL CONFERENCE ISSUE CONTENTS Reports : President (Lynn Cavanagh) 3 Treasurer (Aris Carastathis) 3 Intersections (Edward Jurkowski, Sophie Stévance) 3 Website Editor (Eric Hung) 4 Standing Committee of Institutional Members (Brian Power) 4 CUMS Representative to the Canadian Federation of the Humanities and Social Sciences (James Deaville) 4 CUMS Annual Conference 2012 : Wilfrid Laurier University, Waterloo, ON, May 31 - June 3, 2012 : CUMS Conference Program 2012 5 Conference Registration Form & Banquet Reservation 6 Accommodation & Booking 6 2012 Awards 6 In Memoriam 8 News from Members and Member Institutions : Achievements 9 Upcoming Conferences & Events 10 2 2011-2012 CUMS EXECUTIVE COMMITTEE : Lynn Cavanagh President, University of Regina Mary Ingraham Vice-President, University of Alberta Deanna Oye Past President, University of Lethbridge Joelle Welling Secretary, University of Calgary Aris Carastathis Treasurer, Lakehead University Edward Jurkowski Intersections English Editor, University of Lethbridge Sophie Stévance Intersections French Editor, Université de Montréal Eric Hung Website Editor, Rider University Brian Power Chair, Institutional Members, Brock University The Newsletter of the Canadian University Music Society is published twice annually and is compiled and edited by the Vice President of the Society. Please contact the Newsletter Editor for further information or corrections: Mary Ingraham, University of Alberta, maryi @ ualberta.ca. NEWSLETTER : CUMS Spring 2012, 22/2 3 PRESIDENT’S REPORT ~ Lynn Cavanagh, University of Regina I am pleased to report the creation, during this past year, of a new, annual award, this time for a senior scholar: the SOCAN FOUNDATION/CUMS AWARD OF EXCELLENCE FOR ADVANCEMENT OF RESEARCH IN CANADIAN MUSIC. -
A Framework for the Return to Music Classes in 2020/2021
A Framework for The Return to Music Classes in 2020/2021 1 PRODUCED BY THE OMEA LAST UPDATED August 7, 2020 We acknowledge that there may be omissions and that information will be changing throughout the coming months. This is a living document and will be updated as advisories from the public health officials are altered to reflect the evolving situation. The guidelines outlined in this document are current as of the latest updated date. www.omea.on.ca A Framework for The Return to Music Classes in 2020/2021 Version History Date Version # Action June 4, 2020 1 Initial Document June 15, 2020 2 Revisions June 26, 2020 3 Omissions August 7, 2020 4* Revisions and Omissions *Version 4, August 7, 2020, replaces all previous versions of the document. Thank you to the Canadian Music Industry Education Committee for their financial support of the French translation of version 4 of this document. 2 PRODUCED BY THE OMEA LAST UPDATED August 7, 2020 We acknowledge that there may be omissions and that information will be changing throughout the coming months. This is a living document and will be updated as advisories from the public health officials are altered to reflect the evolving situation. The guidelines outlined in this document are current as of the latest updated date. www.omea.on.ca Contents Preamble ············································································································································································· 5 Music Education Advocacy Statement ······················································································································ -
Ethnic Minorities
Ethnic Minorities As with the music of First Nations, studying the mu- issue of Canadian Folk Music Journal.12 Four years sic of ethnic minorities can pose a challenge because later Bohdan Medwidsky contributed “A Ukrainian of language difficulties and cultural differences. Assassination Ballad in Canada” to the same periodi- However, a considerable amount of research, study, cal.13 And in 2009 Marcia Ostashewski’s “A Fully- and analysis has been brought to bear on the musics Fledged and Finely Functioning Fiddle: Humour and of a wide variety of ethnic communities in Canada. ‘The Uke-Cree Fiddler’” was included in an issue of We will select from the scholarly literature on certain Canadian Folk Music.14 Also of interest is her earlier of those communities, including studies of Eastern “Identity Politics and Western Canadian Ukrainian European and Asian musical traditions in Canada. Musics: Globalizing the Local or Localizing the We will also explore the multicultural mix of ethnic Global?”15 music in Canada’s largest cities. For the music of Polish-Canadians, the first place To start with, one needs an overview of multicul- to go is John Michael Glofcheskie’s National Muse- turalism and the varieties of traditional music found um publication, Folk Music of Canada’s Oldest Pol- among Canada’s ethnic minorities across the country. ish Community.16 Louise Wrazen is an academic who Two articles in Canadian Folk Music, one by Ron has thoroughly studied the music of the Polish com- Duffy titled “Musical Mosaic”1 and an earlier discus- munity in Toronto, and her article in the 1983 issue sion by Phil Thomas titled “Multiculturalism in Mu- Canadian Folk Music Journal provides a revealing sic”,2 provide such an introduction, especially when ethnomusicological approach to an ethnic minority. -
March 30, 1974
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Finalesg-Brochure-201920.Pdf
welcome!Greetings and welcome to our ESG concert season! Our 2019–2020 series includes some of Canada’s finest performers and ensembles. We begin our season with ‘ESG Remembers’ which features our ESG Concert Choir and Chamber Orchestra. This spectacular concert pays tribute to the 100th anniversary of the Peace Treaty with choral masterworks to the concertSERIES fallen, including the Rutter Requiem and other works by Mark Sirett, Ruth Watson Henderson 2019–2020 and Eleanor Daley. Our second concert, ‘Gloria!’, will feature Chamber Orchestra, Organ and our ESG Concert Choir. This yearly tradition is an opportunity to FEATURING SOME get yourselves into the Christmas spirit with carols, choir, organ and orchestra. OF CANADA'S For our third concert, the Elmer Isler Singers, with Artistic Director Lydia Adams, team up finest performers with long-time friends and colleagues, the Elora AND ENSEMBLES Singers and their conductor Mark Vuorinen, in a concert featuring stunning choral classics from Canada and beyond. We hope you will consider being a part of this very exciting season of concerts at ESG. Shawn Grenke Director of Music 35 LYTTON BLVD., TORONTO • 416.481.1141 35 LYTTON BLVD., TORONTO • 416.481.1141 35 LYTTON BLVD., TORONTO • 416.481.1141 www.esgunited.org www.esgunited.org www.esgunited.org ESG Remembers SUNDAY, OCTOBER 27TH, 2019 AT 4:00 P.M. ESG Choir and Chamber Orchestra order form Join ESG as we remember all those who have been affected by SUBSCRIBE NOW TO OUR war. Featuring the hauntingly beautiful Requiem of John Rutter 2019-20 CONCERT SERIES! and other moving and reflective pieces by Eleanor Daley, ESG REMEMBERS Ruth Watson Henderson, Mark Sirett and more.