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William Bruneau and David Gordon Duke Jean Coulthard: a Life in Music
150 Historical Studies in Education / Revue d’histoire de l’éducation BOOK REVIEWS / COMPTES RENDUS William Bruneau and David Gordon Duke Jean Coulthard: A Life in Music. Vancouver: Ronsdale, 2005. 216 pp. William J. Egnatoff She “made sense of life by composing.” (p. 146) “My aim is simply to write music that is good . to minister to human welfare . [A] composer’s musical language should be instinctive, personal, and natural to him.” (p. 157) Bruneau and Duke’s illuminating guide to the life and music of Vancouver composer Jean Coulthard (“th” pronounced as in “Earth Music” (‘cello, 1986) or “Threnody” (various choral and instrumental, 1933, 1947, 1960, 1968, 1970, 1981, 1986) con- tributes substantially and distinctively in form and detail to the growing array of biographical material on internationally-known Canadian composers of the twen- tieth century. Coulthard (1908–2000) began writing music in childhood and con- tinued as long as she could. Composition dates in the 428-page catalogue of the Coulthard manuscripts which can be found at the Web page http://www.library. ubc.ca/archives/u_arch/2007.06.27.cat.pdf, and was prepared by the authors to accompany the posthumous third accession to the composer’s archives, range from 1917 to 1997. The catalogue is housed at the University of British Columbia at the Web site http://www.library.ubc.ca/archives/u_arch/coulth.html. Her works span all forms from delightful graded pieces for young piano students, through choral and chamber music, to opera and large orchestral scores. The book addresses students of Canadian classical music, women’s issues, and the performing arts. -
FEATURE | Pondering the Direction of Canadian Classical Music by Jennifer Liu on February 4, 2017
FEATURE | Pondering The Direction Of Canadian Classical Music By Jennifer Liu on February 4, 2017 150 Years of History, Another Good 150 of Innovation: A commemoration of classical music in Canada. [excerpt: see full article here: http://www.musicaltoronto.org/2017/02/04/feature-pondering-the-question- of-canadian-classical-music/] Step into the future, and we see pianist Darren Creech stepping on stage in tropical short shorts, glittery hair and a big grin on his face. But in fact, as his audiences from Montreal to Toronto have witnessed, Darren has already pulled off the dress code to rave reviews, including for his Master’s graduation recital (to which a jury panelist gushed “LOVE those legs!”) How does Darren project his many identities through music — from his Mennonite heritage, to identifying as queer, to experiences from his eclectic childhood on three continents? Darren was born in Ottawa before his family went on the move — first to Texas, then to France, then to Dakar, Senegal. There on the African continent, Darren sought out a local piano teacher who had studied with the venerable pedagogue Alfred Cortot. Thus Darren gained his entry into the authentic classical tradition: through his teachers in Dakar and eventually in Canada, he is the direct heir to the musical lineages of Chopin and Beethoven. But how does a disciple carry out their legacy for today’s audiences, whether in Africa or in North America? Here Darren counters with a question: “Why perpetuate classical music in the context of social disparity. What is its relevance?” That was the probing sentiment that instilled his spirit to search for answers — and self-made opportunities. -
Filumena and the Canadian Identity a Research Into the Essence of Canadian Opera
Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final thesis for the Bmus-program Icelandic Academy of the Arts Music department May 2020 Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final Thesis for the Bmus-program Supervisor: Atli Ingólfsson Music Department May 2020 This thesis is a 6 ECTS final thesis for the B.Mus program. You may not copy this thesis in any way without consent from the author. Abstract In this thesis I sought to identify the essence of Canadian opera and to explore how the opera Filumena exemplifies that essence. My goal was to first establish what is unique about Canadian opera. To do this, I started by looking into the history of opera composition and performance in Canada. By tracing these two interlocking histories, I was able to gather a sense of the major bodies of work within the Canadian opera repertoire. I was, as well, able to deeper understand the evolution, and at some points, stagnation of Canadian opera by examining major contributing factors within this history. My next steps were to identify trends that arose within the history of opera composition in Canada. A closer look at many of the major works allowed me to see the similarities in terms of things such as subject matter. An important trend that I intend to explain further is the use of Canadian subject matter as the basis of the operas’ narratives. This telling of Canadian stories is one aspect unique to Canadian opera. -
MAGISTERRA-Canada-Fundraiser
MAGISTERRA SOLOISTS Magisterra Soloists is a vibrant Canadian classical music ensemble dedicated to programming innovative and venturesome chamber music works in juxtaposition with traditional staples of the classical repertoire. The ensemble brings together established professional musicians and young emerging artists from across the globe to create something fresh, engaging, and gutsy. In the context of its varied programming, Magisterra is delighted to collaborate with esteemed guest singers and instrumentalists. Magisterra is proud to offer its mentorship program, “Magisterra Fellows”, for select young artists who are invited to perform with the group. In the Spring of 2016, Magisterra launched its “Salon Series”, which is designed to offer music to more intimate audiences. Outside of its regular concert schedule, the ensemble presents concerts in schools throughout Ontario through its outreach program, “Magisterra in Schools”. Founded in the fall of 2015 by internationally-acclaimed German violinist, Annette-Barbara Vogel, Magisterra Soloists is currently based in London, Ontario. Within its first twelve months of concertizing, the ensemble performed to critical acclaim in more than two dozen of venues across Ontario, including Kingston’s Isabel Bader Centre for the Performing Arts. It has also succeeded in designing an educational program which provides interactive exposure to the arts for young children, and which it has presented to captivated audiences of both students and teachers in a number of schools throughout the province. In May of 2016, Magisterra Soloists gave the Canadian premiere of the ensemble’s first commission, Sapling, by award-winning Canadian composer Emily Doolittle. It subsequently premiered this work in August during its inaugural international six-city tour to Brazil which included performances in Rio de Janeiro, Sao Paulo, Porto Alegre, Belo Horizonte, Campinas, and Florianopolis, with the support of the Canadian Consulate in Rio de Janeiro. -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: a QUESTION of NATIONALISM a Thesis Submitted in Partial Satis
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: A QUESTION OF NATIONALISM A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Ronald Frederick Erin August, 1983 J:lhe Thesis of Ronald Frederick Erin is approved: California StD. te Universi tJr, Northridge ii PREFACE This thesis represents a survey of Canadian music since 1940 within the conceptual framework of 'nationalism'. By this selec- tive approach, it does not represent a conclusive view of Canadian music nor does this paper wish to ascribe national priorities more importance than is due. However, Canada has a unique relationship to the question of nationalism. All the arts, including music, have shared in the convolutions of national identity. The rela- tionship between music and nationalism takes on great significance in a country that has claimed cultural independence only in the last 40 years. Therefore, witnessed by Canadian critical res- ponse, the question of national identity in music has become an important factor. \ In utilizing a national focus, I have attempted to give a progressive, accumulative direction to the six chapters covered in this discussion. At the same time, I have attempted to make each chapter self-contained, in order to increase the paper's effective- ness as a reference tool. If the reader wishes to refer back to information on the CBC's CRI-SM record label or the Canadian League of Composers, this informati6n will be found in Chapter IV. Simi- larly, work employing Indian texts will be found in Chapter V. Therefore, a certain amount of redundancy is unavoidable when interconnecting various components. -
John Beckwith Fonds CA OTUFM 10
University of Toronto Music Library John Beckwith fonds CA OTUFM 10 © University of Toronto Music Library 2020 Contents John Beckwith ................................................................................................................................................. 3 John Beckwith fonds .................................................................................................................................... 4 Series A : Compositions ...................................................................................................................... 4 Series B: Librettos, texts, performance records ........................................................................ 26 Series C: Other activities ................................................................................................................... 35 Series D: Other correspondence.................................................................................................... 39 Series E: Biographical ......................................................................................................................... 41 Series F: Recordings ........................................................................................................................... 43 John Beckwith fonds University of Toronto Music Library CA OTUFM 10 John Beckwith 1927- John Beckwith (born March 9, 1927 in Victoria, British Columbia) is a composer, pianist, author, and teacher. He moved to Toronto in 1945 to study piano with Alberto Guerrero at the Royal Conservatory. -
THE CANADIAN MUSIC TEACHER W W W . C F M T a . O
THE CANADIAN MUSIC TEACHER LE PROFESSEUR DE MUSIQUE CANADIEN VOLUME 61 - NUMBER 1 - SEPTEMBER 2010 CANADIAN FEDERATION OF MUSIC TEACHERS’ ASSOCIATIONS FÉDÉRATION CANADIENNE DES PROFESSEURS DE MUSIQUE 50 Anniversary / Anniversaire CANADA MUSIC WEEK® LA SEMAINE DE LA MUSIQUE CANADIENNE Nov 21-27, 2010 CANADIAN FEDERATION OF MUSIC TEACHERS’ ASSOCIATIONS FÉDÉRATION CANADIENNE DES PROFESSEURS DE MUSIQUE 50 Anniversary / Anniversaire CANADA MUSIC WEEK® LA SEMAINE DE LA MUSIQUE CANADIENNE Nov 21-27, 2010 CANADIAN FEDERATION OF MUSIC TEACHERS’ ASSOCIATIONS FÉDÉRATION CANADIENNE DES PROFESSEURS DE MUSIQUE 50 Anniversary / Anniversaire Canada Music Week/La Semaine De La Musique Canadienne ® November 21-27, 2010 CANADA MUSIC WEEK LA SEMAINE DE LA MUSIQUE CANADIENNE Celebrating the best of Canadian music, culture and creativity. Nov 21-27, 2010 Live performances and events across the country. Visit www.cfmta.org for details. Canada Music Week/La Semaine De La Musique Canadienne November 21-27, 2010 Celebrating the best of Canadian music, culture and creativity. Live performances and events across the country. Visit www.cfmta.org for details. Canada Music Week/La Semaine De La Musique Canadienne November 21-27, 2010 Celebrating the best of Canadian music, culture and creativity. Live performances and events across the country. Visit www.cfmta.org for details. CANADIAN FEDERATION OF MUSIC TEACHERS’ ASSOCIATIONS FÉDÉRATION CANADIENNE DES PROFESSEURS DE MUSIQUE 50 Anniversary / Anniversaire CANADA MUSIC WEEK® LA SEMAINE DE LA MUSIQUE CANADIENNE CANADIAN FEDERATION OF MUSIC TEACHERS’ ASSOCIATIONS Nov 21-27, 2010 FÉDÉRATION CANADIENNE DES PROFESSEURS DE MUSIQUE 50 Anniversary / Anniversaire CANADA MUSIC WEEK® LA SEMAINE DE LA MUSIQUE CANADIENNE Nov 21-27, 2010 Canada Music Week/La Semaine De La Musique Canadienne November 21-27, 2010 Celebrating the best of Canadian music, culture and creativity. -
The Piano Music of Jean Coulthard: an Historical Perspective
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction Is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wiU indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 The Piano Music of Jean Couithard By Glenn David Colton B.Mus., Memorial University of Newfoundland, 1990 M.A. (Music Criticism), McMaster University, 1992 A dissertation submitted in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY (Musicology) in the Department of Music We accept this dissertation as conforming to the required standard fl$r. -
Canada's NEXT
1 Canada’s NEXT Classical:NEXT Opening Gala Proposal May 20, 2015, Rotterdam TABLE OF CONTENTS Ceremony design concept……………………………………………………………………. 2 Artist, composer, speaker bios……………………………………………………………… 4 Proposed stage manager……………………………………………………………………… 7 Financing / funding source……………………………………………………………………. 8 Appendix 1: Production/Stage Manager detailed CV…………………………….. 8 Appendix 2: Video Production Company ……………………………………………… 10 Appendix 3: Video Montage Content Ideas………………………………………….. 11 Canada’s Next | Classical:NEXT Opening Gala Proposal Submitted 21.11.2014 2 CEREMONY DESIGN CONCEPT This proposed program for the Classical:NEXT opening night is designed to show that Canada is ideally and uniquely positioned to provide a delightful, dynamic and potentially shocking take on what’s “next” in classical and contemporary music. Musical selections and proposed artists are intended to reflect what Canadian classical music is today with representation from the current generation which is innovative and bold. Suggested artists come from a wide range of culturally and linguistically diverse communities, aboriginal origins and are geographically representative of Canada. The design concept for the evening focuses on a theme of “possibility.” What is possible for Canadian artists within the country and abroad? How can we challenge what is possible musically? The evening will have a seamless flow and be tightly produced. The program will move from artists to speakers connected through a high quality video montage that will showcase cultural elements not easily presented in the conference format. This will allow for the contrast of larger scale ensembles and projects with the smaller more intimate solo and chamber works that will be live during the event. Starting off with the Polaris Prize-winning Inuit throat singer Tanya Tagaq from a blacked-out theatre will immediately set the tone of surprise for the evening. -
(Manitoba Chamber Orchestra's) Classical Music Recordings
The Consummate Value of (Manitoba Chamber Orchestra’s) Classical Music Recordings by Conrad Sweatman1 Anyone outside the Top 40 world who records CDs in this day and age might be accused of artistic vanity. Consider this 2015 headline from impish classical blogger Norman Lebrecht on Slipped Disc: “Adele’s album sold 3.4M last week. The classical #1 sold 493.” The classical artist in question was Yo Yo Ma. No shade on Adele, but for those of us who like coffee with our sugar, a bit of Beethoven alongside The Beatles, let’s not pretend this trend isn’t at least a little discouraging. But how much so? So much that it should stop Yo Yo Ma, or even those talented musicians among us who don’t chart in the Top 10, from gracing the world with a durable document of the miracles we conduct on stage? Phrased that way, the question implies a clear answer in the negative. I’m biased, as a dedicated marketer of classical music, so I’ll relate a persuasive argument on this matter made by a non-musician friend of mine. Challenged to defend the social value of concert music in utilitarian terms, she argued that such value lay in concert music’s prominent place in the public domain. In a sense, we all have a stake in the preservation of classical music, just as we all have a stake in the preservations of the commons. I might extend her argument to point out that most Canadian classical music organizations are non-profits, whose budgets are supported indirectly by democratic mandate, and who generally, in my experience, do their utmost to keep their concerts and recordings affordable for Jane Q. -
The Music Scene December 2002 — February 2003 Contents E N E C
FREE www.scena.org December 2002 - February 2003 Issue 02 yo-yo Ma An Invitation to Explore Holidays Classical Music Calendar Southern Ontario & Western Canada AVE MARIA BEETHOVEN HANDEL MOZART Sacred Arias And Choruses Symphony No. 9 “Choral” The Messiah (Highlights) Requiem ORFF PETER AND THE WOLF RACHMANINOV TCHAIKOVSKY Carmina Burana Narrated by Piano Concerto No. 2 Nutcracker/Swan Lake Dame Edna Everage Bank/Sparks Ottawa Carrefour Laval Laval Cataraqui Town Centre Kingston Devonshire Mall Windsor Fairview Mall Willowdale First Canadian Place Toronto Halifax Halifax Laurier Ste-Foy Market Mall Calgary Mayfair Victoria Montreal Megastore Montréal Park Royal Vancouver Pointe-Claire Pointe- Claire Polo Park Winnipeg Portage Place Winnipeg Richmond Centre Richmond Rideau Ottawa Scarborough Town Centre Scarborough Sherway Gardens Etobicoke Square One Mississauga St Vital Winnipeg Stone Road Guelph TD Square Calgary Toronto Superstore Toronto Upper Canada Mall Newmarket West Edmonton Edmonton Yonge & Bloor Toronto Yonge & Eglinton Centre Toronto Yorkdale Toronto 3 CDs for $20 offer in effect at participating HMV locations only until December 24, 2002. Offer applies to specially stickered CD selections only. Individually priced at 7.99 each. HMV reserves the right to limit quantities and cease offer at any time. Offer valid only while quantities last. One HMV Coupon Booklet per transaction. HMV reserves the right to limit quantities. Minimum $40 purchase before taxes required. ATMAclassique Introducing the Pacific Baroque Orchestra recognized -
Music and Belonging / Musique Et Appartenance
Canada 150: Music and Belonging / Musique et appartenance Joint meeting / Congrès mixte Canadian Association of Music Libraries, Archives and Documentation Centres / Association canadienne des bibliothèques, archives et centres de documentation musicaux Canadian Society for Traditional Music / Société canadienne pour les traditions musicales Canadian University Music Society / Société de musique des universités canadiennes International Association for the Study of Popular Music, Canada Branch Faculty of Music University of Toronto 25-27 May 2017 / 25-27 mai 2017 Welcome / Bienvenue The Faculty of Music at the University of Toronto is pleased to host the conference Canada 150: Music and Belonging / Musique et appartenance from May 25th to May 27th, 2017. This meeting brings together four Canadian scholarly societies devoted to music: CAML / ACBM (Canadian Association of Music Libraries, Archives and Documentation Centres / Association canadienne des bibliothèques, archives et centres de documentation musicaux), CSTM / SCTM (Canadian Society for Traditional Music / Société canadienne pour les traditions musicales), IASPM Canada (International Association for the Study of Popular Music, Canada Branch), and MusCan (Canadian University Music Society / Société de musique des universités canadiennes). We are expecting 300 people to attend the conference. As you will see in this program, there will be scholarly papers (ca. 200 of them), recitals, keynote speeches, workshops, an open mic session and a dance party – something for everyone. The multiple award winning Gryphon Trio will be giving a free recital for conference delegates on Friday evening, May 26th from 7:00 to 8:15 pm. Visitors also have the opportunity to take in many other Toronto events this weekend: music festivals by the Royal Conservatory of Music and CBC; concerts by Norah Jones, Rheostatics, The Weeknd, and the Toronto Symphony; a Toronto Blue Jays baseball game; the Inside Out LGBT Film Festival, and a host of other events at venues large and small across the city.