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Monday Morning, February 5, 1962 Features 2 Schedule of Eventa 3
Monday Morning, February 5, 1962 Features 2 Art MMMMi— 7 Schedule of Eventa 3 MUSÍ« s»i^..,es,.se.,sssesssa 8 , 9 B ooks — - ........... 4t Ftlxus ' »Mt»»».»»»»—#»« »» w m • 10 Radio-X Ï & Theatre Michigan Stole New» SPOTLIGHT, Monday Morning, February 5, 1962 Fate of U S. Lies in Education Education must solve prob and unification of education age is a crucial one and will By DIANE TURNS | lead the country to the number become more so in the coming SPOTLIGHT Feature Writer one position in culture, industry lems in three major areas in standards throughout the . I and military power. order to meet the challenges of country. Kleis saM that a na years. Ernest O. Melby, profes tional commission to set the sor of education and former America is facing a crisis in How can our present schools the future. MSU educators said, j education—a crisis upon which They are: standards for the local dis Montana State University pres meet these challenges for the tricts to carry out would work ident. said there is a two-way rests the fate of the nation, future? 1. Raising the standards. of | American schools today are education. — j the best. solution to the problem: more, faced with the problem of edu The answer is simple: They 2. Finding more and better j “With social mobility it makes prestige for teachers and high cating tomorrow’s citizens to can't. teachers. a difference what education is er salaries. —• _ 3. Raising funds to meet fu- like all over the United States, J “ If-we come to put a high ture needs. -
The New Hampshire, Vol. 9, No. 22 (Mar 17, 1920)
N .H . COLLEGE L I CHARY, ®lte Nnu ifiampalnrp^ D U R H A M , V o l u m e 9. N u m b e r DURHAM, N. H., MARCH 17, 1920. P r ic e , 6 Ce n t s . THE SMALLEY TRIO TWO SPEAKERS TALK VARSITY LOSES IN LYCEUM COURSE AN OLD INDUSTRY TO OVERSEAS CLUB SKETBALL Ensign “Babe” Hunting Describes CLOSE GAME Large Audience Enjoys Last Number RECENTLYREVIVED EASON CLOSED “Policing the Seas”— Captain of Lecture Course— Harpist Is Kernan Tells of Philippine Favorite— Humorous Read-' Y VICTORY Springfield Captures Fast Ralph D, Paine So Experiences— Committees ings by Miss King Game by Score of 35-31 Calls Merchant Marine for Dance Appointed Brown Falls Before New Hampshire Team The Smalley Trio presented a very CHAPEL TALK INTERESTING The monthly meeting and smoker SCORE ALWAYS CLOSE entertaining program to a large au of the Overseas Club was held in the FINAL COUNT 38-20 dience at the Gymnasium, Wednesday Draws Lesson from Faculty Minstrels Aggie Club room Thursday evening Blue and White Leads All the Way— evening, March 11. The Smalley Trio — Emphasizes Need for Broaden March 11th. The speakers, Captain Give Good Exhibition of Team Springfield Leads Most of Time— Band is made up of: flute, Marion Jordan; ing Interests— Points to New Randall Kernan, of the N. H. C., R. Wcrk— Capt. Davis and A t Furnishes Music— Perry and An harp, Rae Kilmer; cello, Ralph Opening for College Men O. T. C. unit, and Ensign R. W. Hunt kins Play Last Game derson Play Well— Visitors Smalley. -
Native American Elements in Piano Repertoire by the Indianist And
NATIVE AMERICAN ELEMENTS IN PIANO REPERTOIRE BY THE INDIANIST AND PRESENT-DAY NATIVE AMERICAN COMPOSERS Lisa Cheryl Thomas, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2010 APPROVED: Adam Wodnicki, Major Professor Steven Friedson, Minor Professor Joseph Banowetz, Committee Member Jesse Eschbach, Chair of the Division of Keyboard Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Michael Monticino, Dean of the Robert B. Toulouse School of Graduate Studies Thomas, Lisa Cheryl. Native American Elements in Piano Repertoire by the Indianist and Present-Day Native American Composers. Doctor of Musical Arts (Performance), May 2010, 78 pp., 25 musical examples, 6 illustrations, references, 66 titles. My paper defines and analyzes the use of Native American elements in classical piano repertoire that has been composed based on Native American tribal melodies, rhythms, and motifs. First, a historical background and survey of scholarly transcriptions of many tribal melodies, in chapter 1, explains the interest generated in American indigenous music by music scholars and composers. Chapter 2 defines and illustrates prominent Native American musical elements. Chapter 3 outlines the timing of seven factors that led to the beginning of a truly American concert idiom, music based on its own indigenous folk material. Chapter 4 analyzes examples of Native American inspired piano repertoire by the “Indianist” composers between 1890-1920 and other composers known primarily as “mainstream” composers. Chapter 5 proves that the interest in Native American elements as compositional material did not die out with the end of the “Indianist” movement around 1920, but has enjoyed a new creative activity in the area called “Classical Native” by current day Native American composers. -
UNIVERSITY of CINCINNATI August 2005 Stephanie Bruning Doctor Of
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ The Indian Character Piece for Solo Piano (ca. 1890–1920): A Historical Review of Composers and Their Works D.M.A. Document submitted to the College-Conservatory of Music, University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance August 2005 by Stephanie Bruning B.M. Drake University, Des Moines, IA, 1999 M.M. College-Conservatory of Music, University of Cincinnati, 2001 1844 Foxdale Court Crofton, MD 21114 410-721-0272 [email protected] ABSTRACT The Indianist Movement is a title many music historians use to define the surge of compositions related to or based on the music of Native Americans that took place from around 1890 to 1920. Hundreds of compositions written during this time incorporated various aspects of Indian folklore and music into Western art music. This movement resulted from many factors in our nation’s political and social history as well as a quest for a compositional voice that was uniquely American. At the same time, a wave of ethnologists began researching and studying Native Americans in an effort to document their culture. In music, the character piece was a very successful genre for composers to express themselves. It became a natural genre for composers of the Indianist Movement to explore for portraying musical themes and folklore of Native-American tribes. -
Charles Sanford Skilton Collection Finding Aid (PDF)
University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketch ………………………………………………………………. 2 Scope and Content ………………………………………………………………. 3 Series Notes ………………………………………………………………………. 3 Series I: Manuscript Scores ………………………………………………………. 4 Operas ………………………………………………………………………. 4 Major Vocal/Choral Works ………………………………………………. 9 Minor Vocal/Choral Works ………………………………………………. 10 Instrumental Works ………………………………………………………. 13 Organ/Harmonium ………………………………………………………. 15 Music Books Containing Multiple Scores & Score Sheets Containing Different Manuscripts on Front and Back ………. 17 Rejected Manuscripts & Unidentified Fragments ………………………. 17 Series II: Published Scores ………………………………………………………. 18 Orchestral ………………………………………………………………. 18 Vocal ………………………………………………………………………. 18 Instrumental ………………………………………………………………. 19 Series III: Other Composers‟ Published Scores ………………………………. 19 Series IV: Photocopies of Manuscripts ………………………………………. 25 Series V: Miscellaneous Documents ………………………………………………. 26 Series VI: Oversized Manuscripts ………………………………………………. 26 Addendum ………………………………………………………………………. 27 MS135-Charles Sanford Skilton Collection 1 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION BIOGRAPHICAL SKETCH Born in Northampton, Massachusetts, in 1868, Charles Sanford Skilton received his Bachelor of Arts degree from Yale University in 1889. He taught languages at Siglar's Preparatory School in Newburgh, New -
The Concerts at Lewisohn Stadium, 1922-1964
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 Music for the (American) People: The Concerts at Lewisohn Stadium, 1922-1964 Jonathan Stern The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2239 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC FOR THE (AMERICAN) PEOPLE: THE CONCERTS AT LEWISOHN STADIUM, 1922-1964 by JONATHAN STERN VOLUME I A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2009 ©2009 JONATHAN STERN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy. Professor Ora Frishberg Saloman Date Chair of Examining Committee Professor David Olan Date Executive Officer Professor Stephen Blum Professor John Graziano Professor Bruce Saylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC FOR THE (AMERICAN) PEOPLE: THE LEWISOHN STADIUM CONCERTS, 1922-1964 by Jonathan Stern Adviser: Professor John Graziano Not long after construction began for an athletic field at City College of New York, school officials conceived the idea of that same field serving as an outdoor concert hall during the summer months. The result, Lewisohn Stadium, named after its principal benefactor, Adolph Lewisohn, and modeled much along the lines of an ancient Roman coliseum, became that and much more. -
Toccata Classics TOCC 0126 Notes
ARTHUR FARWELL: PIANO MUSIC, VOLUME ONE by Lisa Cheryl Thomas ‘he evil that men do lives ater them’, says Mark Antony in Shakespeare’s Julius Caesar; ‘he good is ot interred with their bones.’ Luckily, that isn’t true of composers: Schubert’s bones had been in the ground for over six decades when the young Arthur Farwell, studying electrical engineering at the Massachusetts Institute of Technology, heard the ‘Uninished’ Symphony for the irst time and decided that he was going to be not an engineer but a composer. Farwell, born in St Paul, Minnesota, on 23 March 1872,1 was already an accomplished musician: he had learned the violin as a child and oten performed in a duo with his pianist elder brother Sidney, in public as well as at home; indeed, he supported himself at college by playing in a sextet. His encounter with Schubert proved detrimental to his engineering studies – he had to take remedial classes in the summer to be able to pass his exams and graduated in 1893 – but his musical awareness expanded rapidly, not least through his friendship with an eccentric Boston violin prodigy, Rudolph Rheinwald Gott, and frequent attendance at Boston Symphony Orchestra concerts (as P a ‘standee’: he couldn’t aford a seat). Charles Whiteield Chadwick (1854–1931), one of the most prominent of the New England school of composers, ofered compositional advice, suggesting, too, that Farwell learn to play the piano as soon as possible. Edward MacDowell (1860–1908), perhaps the leading American Romantic composer of the time, looked over his work from time to time – Farwell’s inances forbade regular study with such an eminent igure, but he could aford counterpoint lessons with the organist Homer Albert Norris (1860–1920), who had studied in Paris with Dubois, Gigout and Guilmant, and piano lessons with homas P. -
Representing Classical Music to Children and Young People in the United States: Critical Histories and New Approaches
REPRESENTING CLASSICAL MUSIC TO CHILDREN AND YOUNG PEOPLE IN THE UNITED STATES: CRITICAL HISTORIES AND NEW APPROACHES Sarah Elizabeth Tomlinson A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2020 Approved by: Chérie Rivers Ndaliko Andrea F. Bohlman Annegret Fauser David Garcia Roe-Min Kok © 2020 Sarah Elizabeth Tomlinson ALL RIGHTS RESERVED ii ABSTRACT Sarah Elizabeth Tomlinson: Representing Classical Music to Children and Young People in the United States: Critical Histories and New Approaches (Under the direction of Chérie Rivers Ndaliko) In this dissertation, I analyze the history and current practice of classical music programming for youth audiences in the United States. My examination of influential historical programs, including NBC radio’s 1928–42 Music Appreciation Hour and CBS television’s 1958–72 Young People’s Concerts, as well as contemporary materials including children’s visual media and North Carolina Symphony Education Concerts from 2017–19, show how dominant representations of classical music curated for children systemically erase women and composers- of-color’s contributions and/or do not contextualize their marginalization. I also intervene in how classical music is represented to children and young people. From 2017 to 2019, I conducted participatory research at the Global Scholars Academy (GSA), a K-8 public charter school in Durham, NC, to generate new curricula and materials fostering critical engagement with classical music and music history. Stemming from the participatory research principle of situating community collaborators as co-producers of knowledge, conducting participatory research with children urged me to prioritize children’s perspectives throughout this project. -
Chronology and Itinerary of the Career of Will Marion Cook: Materials for a Biography Peter M
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 10-17-2017 Chronology and Itinerary of the Career of Will Marion Cook: Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the African American Studies Commons, American Popular Culture Commons, and the Music Commons Lefferts, Peter M., "Chronology and Itinerary of the Career of Will Marion Cook: Materials for a Biography" (2017). Faculty Publications: School of Music. 66. http://digitalcommons.unl.edu/musicfacpub/66 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 10/17/2017 Chronology and Itinerary of the Career of Will Marion Cook: Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln This document is one in a series---"Chronology and Itinerary of the Career of"---devoted to a small number of African American musicians active ca. 1900-1950. The documents are fallout from my work on a pair of essays, "US Army Black Regimental Bands and The Appointments of Their First Black Bandmasters" (2013) and "Black US Army Bands and Their Bandmasters in World War I" (2012; rev. version, 2016). In all cases I have put into some kind of order a number of biographical research notes, principally drawing upon newspaper and genealogy databases. -
"In the Glory of the Sunset": Arthur Farwell, Charles Wakefield Cadman, and Indianism in American Musk
"In the Glory of the Sunset": Arthur Farwell, Charles Wakefield Cadman, and Indianism in American Musk BethE. Levy Although the portrayal of Native Americans in Euro American art does not begin with Longfellow's Song of Hiawatha (1855), it would be difficult to overestimate the im portance of this narrative poemjn shaping later nineteenth and early twentieth-century representations of Indian life. Generations of school children have memorized and chant ed its infectious lines: Should you ask me, whence these stories, Whence these legends and traditions, With the odors of the forest, With the dew and damp of meadows, With the curling smoke of wigwams, With the rushing of great rivers, With their frequent repetitions{ And their wild reverberations, As of thunder in the mountains? I should answer, I should tell you, "From the forests and the prairies, From the great lakes of the Northland, From the land of the Ojibways, From the land of the Dacotahs, From the mountains, moors, and fen-lands Where the heron, the Shuh-shuh-gah, Feeds among the reeds and rushes. I repeat them as I heard them From the lips of Nawadaha, The musician, the sweet singer." "There he sang of Hiawatha, Sang the Song of Hiawatha, Sang his wondrous birth and being, How he prayed and how he fasted, 128 repercussions Spring-Fall 1996 129 How he lived, and toiled, and suffered, That the tribes of men might prosper, That he might advance his people!" Ye who love a nation's legends, Love the ballads of a people, That like voices from afar off Call to us to pause and listen, Speak in tones so plain and childlike, Scarcely can the ear distinguish Whether they are sung or spoken;,. Listen to this Indian Legend, To this Song of Hiawatha!l Hiawatha was coupled with ethnographic studies, it was translated into Latin (presumably for student use), it was parodied by Lewis Carroll, among others, and actresses gave public recitals of its most popular passages. -
May 1929) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 5-1-1929 Volume 47, Number 05 (May 1929) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 47, Number 05 (May 1929)." , (1929). https://digitalcommons.gardner-webb.edu/etude/767 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. The Journal of the Musical Home Everywhere A PARISIAN SERENADE $2.00 A YEAR PRICE 25 CENTS Discontinuances.—Owing Subscription Price, $2. Possessions. Argen- * BoHvia,“BrazXc^mbT^CosU A HSIS SfefcgBBS &SS&S&&*. „ w PUBLISHED BY THEODORE PI THE WORLD OF -JiCUS'IC behind illze curiam Interesting and Important Items Gleaned in a Constant Watch on Happenings and Activities Pertaining to Things Musical Everywhere voices for the act to come. In each room there is a piano. Each piano is a Knabe. Why a Knabe? Let the Director of the Metropolitan, Mr. Gatti-Casazza, answer that question . ."We engage the finest KNABE Official Piano of the Metropolitan Opera Company by <he composer himself: or the Rigo- playing upon the piano. -
November 1946) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 11-1-1946 Volume 64, Number 11 (November 1946) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 64, Number 11 (November 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/189 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. - {TIM, ELIZABETH Al Her Royal Hi$\mess/ rrincesjr«tif to flic lln one of Grea Britain, after receiving fh« De^PI ni versify of London \&4 summer. The Degree was preSM C han cellor ol the University. P it childhood. S i n ce her •JfRVICH DR. HENRY S. FRY, dis- the THE OPENING PERFORMANCE of tinguished organist and fall season at the City Center Theatre, choral conductor, for the New York, in September, saw New thirty-four years organ- York City Opera Company give a truly Numbers ist and choirmaster at outstanding performance of “Madama Piano St. Clements' Church, Butterfly.” Camilla Williams, sensational Philadelphia, died in young Negro soprano, headed a cast of Priority-Deserving that city on September inspired singers, and with Laszlo Halasz 6, at the age of seventy- Prelude conducting, the presentation, according Dr.