DOCSLIB.ORG

Schabas, Ezra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Schabas, Ezra There’s Music in These Walls: A History of the Royal Conservatory of Music. By Ezra Schabas. Toronto: The Dundurn Group, 2005. ISBN 1-55002-540-6. 288 pp., ill. $50.00 (hardcover) any Canadians, this reviewer A continuing theme of the book is included, know the Royal the turbulent relationship between the M Conservatory of Music as an RCM and the University of Toronto. invisible force behind years of childhood The Conservatory’s long affiliation with piano lessons. We spent hours practising the University of Toronto began in 1896 music listed in the RCM syllabi, and ended in 1991. The saga of this on- performed nervously for RCM again, off-again relationship is told examiners, as well as studying and gradually throughout the book, and the writing theory, history, and harmony success or failure of an RCM principal tests during summer vacations. Ezra seemed to lie, in part, in how the Schabas, in There’s Music in These affiliation was managed. What started as Walls, introduces a side of the symbiosis (the RCM benefited from Conservatory that most Canadians never university affiliation; the U of T see: the on-campus, Toronto-based benefited from student tuition revenue) music school. degenerated over the years into bickering over land, buildings, faculty, Schabas’s personal history and and, of course, finances. As a former expertise shine in this work. His principal himself, Schabas does not previous publications include Sir Ernest hesitate to give his candid opinions of MacMillan: The Importance of Being various administrators, past and present. Canadian (1994) and (with Carl Morey) Opera Viva: Canadian Opera Company: The book’s coffee-table gloss and The First Fifty Years (2000), which format includes an eye-catching dust- explains the weight given to both jacket: a full colour photograph of subjects in There’s Music in These McMaster Hall, the RCM’s well-known Walls. Schabas’s own history with the Bloor Street home. There are over RCM may also explain the “Toronto- seventy black-and-white photographs, centricity” of the text; he was hired in and the reproductions are excellent. 1952 as director of its publicity and Generally the pictures reflect the context concerts and of its Concert and of the subject matter (the one glaring Placement Bureau, and served as its exception is a delightful photograph of Principal from 1978-83. There is a the young Glenn Gould on page 101 that wealth of information on teachers, appears in the middle of a lengthy students, ensembles, conductors, and discussion of opera). concert and opera programs (with reviews), but unfortunately it ends at the Despite the book’s classy, grand Toronto city limits. The reader gets no appearance, the contents are not light hint of RCM activity in any other reading. While the conversational tone is Canadian city, let alone in rural areas. engaging, the attention to detail is Even the branches are mentioned in exhausting at times. The descriptive administrative terms only. titles of the twelve chapters (e.g., “Toronto Has a Music School,” “The 39 Travails of Reorganization,” “Buildings were both on the 1950 series” (p. 121), Old and New”) indicate how the author and a short, rather offhand, personal has classified chronological events into reminiscence (p. 130). broad categories. There is an index, and the appendices include a chronology. Ezra Schabas has many stories to tell Other visual aids such as an thanks to his long association with the organizational chart would have been Royal Conservatory of Music. There’s helpful. Music in These Walls is not merely a collection of stories, however; it is a The research and scholarship that significant addition to the scholarship of went into this account are impeccable. Canadian music. The book is certainly a Schabas has backed up his personal boon to researchers, especially those memories with extensive interviews. He who are interested in the RCM’s and researcher Dorith Cooper also presence in Toronto. There is much combed several archives to paint a vivid more to this institution than mere music picture of daily life at the Conservatory. books and examinations, and readers will come away with a much fuller But his treatment of Glenn Gould is understanding of what is arguably the puzzling. This reviewer was looking most important music school in Canada. forward to learning more about Gould’s early years as an RCM student. Yet the Janneka L. Guise RCM’s most famous graduate is rarely Queen Elizabeth II Library mentioned, except in bland statements Memorial University of Newfoundland such as “Glenn Gould and Lois Marshall 40.
Load more

Recommended publications
  • Theodore Thomas Collection: Finding
    University of Toronto Music Library Thedore Thomas collection CA OTUFM 09 © University of Toronto Music Library 2020 Contents Theodore Thomas ............................................................................................................................................ 3 Ezra Schabas ....................................................................................................................................................... 3 Theodore Thomas collection ....................................................................................................................... 3 Series A: Chronological research files ............................................................................................. 4 Series B: Research files by topic or library ..................................................................................... 5 Series C: Correspondence regarding participation and promotion of biography ........ 6 Series D: Microfilms ................................................................................................................................ 8 Theodore Thomas collection University of Toronto Music Library CA OTUFM 09 Theodore Thomas 1935-1905 Thomas, Theodore (1835-1905), formed his own orchestra in 1862 and gave concerts in many American cities, always including some unfamiliar work. He conducted the New York Philharmonic 1877–1891, and was the first conductor of the Chicago Symphony 1891–1905. Ezra Schabas 1900-1971 Prof. Ezra Schabas was born in New York and received his Diploma in Clarinet
    [Show full text]
  • Cultural Diplomacy and Nation-Building in Cold War Canada, 1945-1967 by Kailey Miller a Thesis Submitt
    'An Ancillary Weapon’: Cultural Diplomacy and Nation-building in Cold War Canada, 1945-1967 by Kailey Miller A thesis submitted to the Graduate Program in History in conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada September, 2015 Copyright ©Kailey Miller, 2015 Abstract This dissertation is a study of Canada’s cultural approaches toward the Communist world – particularly in the performing arts – and the ways in which the public and private sectors sought to develop Canada’s identity during the Cold War. The first chapter examines how the defection of Igor Gouzenko in 1945 framed the Canadian state’s approach to the security aspects of cultural exchanges with the Soviet Union. Chapters 2 to 4 analyse the socio-economic, political, and international context that shaped Canada's music, classical theatre, and ballet exchanges with communist countries. The final chapter explores Expo ’67’s World Festival of Arts and Entertainment as a significant moment in international and domestic cultural relations. I contend that although focused abroad, Canada’s cultural initiatives served a nation-building purpose at home. For practitioners of Canadian cultural diplomacy, domestic audiences were just as, if not more, important as foreign audiences. ii Acknowledgements My supervisor, Ian McKay, has been an unfailing source of guidance during this process. I could not have done this without him. Thank you, Ian, for teaching me how to be a better writer, editor, and researcher. I only hope I can be half the scholar you are one day. A big thank you to my committee, Karen Dubinsky, Jeffrey Brison, Lynda Jessup, and Robert Teigrob.
    [Show full text]
  • 14Th Annual Report the Canada Council 1970-1971
    1 14th Annual Report The Canada Council 1970-1971 Honourable Gérard Pelletier Secretary of State of Canada Ottawa, Canada Sir, I have the honour to transmit herewith the Annual Report of the Canada Council, for submission to Parliament, as required by section 23 of the Canada Council Act (5-6 Elizabeth Ii, 1957, Chap. 3) for the fiscal year ending March 31, 1971. I am, Sir, Yours very truly, John G. Prentice, Chairman. June 341971 3 Contents The Arts The Humanities and Social Sciences Other Programs 10 Introduction 50 Levels of Subsidy, 1966-67 to 1970-71 90 Prizes and Special Awards 12 Levels of Subsidy, 1966-67 to 1970-71 51 Research Training 91 Cultural Exchanges Doctoral Fe//owships; distribution of 14 Music and Opera Doctoral Fellowships by discipline. 96 Canadian Commission for Unesco 21 Theatre 54 Research Work 100 Stanley House Leave Fellowships; distribution of Leave 27 Dance Fellowships by discipline; Research Finances Grants; distribution of Research Grants 102 Introduction 30 Visual Arts, Film and Photography by disciph’ne; list of Leave Fellowships, Killam Awards and large Research 105 Financial Statement 39 Writing Grants. Appendix 1 48 Other Grants 78 Research Communication 119 List of Doctoral Fellowships List of grants for publication, confer- ences, and travel to international Appendix 2 meetings. 125 List of Research Grants of less than $5,000 86 Special Grants Support of Learned Societies; Appendix 3 Other Assistance. 135 List of Securities March 31. 1971 Members John G. Prentice (Chairman) Brian Flemming Guy Rocher (Vice-Chairman) John M. Godfrey Ronald Baker Elizabeth A. Lane Jean-Charles Bonenfant Léon Lortie Alex Colville Byron March J.
    [Show full text]
  • Conservatory of Music Piano Examinations, 1887-2015: Their Impact and Influence
    A HISTORY OF THE ROYAL (TORONTO) CONSERVATORY OF MUSIC PIANO EXAMINATIONS, 1887-2015: THEIR IMPACT AND INFLUENCE TATIANA VOITOVITCH-CAMILLERI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO November 2019 © Tatiana Voitovitch-Camilleri, 2019 ii ABSTRACT Since its inception in 1887, the Royal Conservatory of Music has maintained its position as one of the largest and oldest community-based music schools and education centres in North America, with an integrated examination body and a comprehensive graded curriculum, influencing and shaping the Canadian musical landscape. For the past 130 years, the Conservatory has presented a wide-ranging art music repertoire for studying piano and offered a comprehensive system for assessing students’ progress through its Examinations, recently retitled as The Certificate Program. The Conservatory’s internal examinations began in 1887, with the external examinations following in 1898. The latter preserved the format of the former and expanded through increasing the number of the examination centres across Canada for both financial and educational reasons. Despite varying opinions of professionals and amateurs on the efficacy and value of the piano examinations in particular from the beginning, this dissertation, using historical sources and interviews, argues that over the years the structure and content of the piano examinations, while innately conservative on the whole, have kept up with a changing demographic of students across the country, and either countered or taken on the many criticisms that surrounded them over the years despite geographical and financial challenges, and indeed competition from other institutions.
    [Show full text]
  • Catalogue of Canadian Women Empowered by Music 1
    Catalogue of Canadian Women Empowered by Music Who is in this catalogue? ...women empowered by music, women who empowered others through music, and women who were trailblazers in music. You will find composers, singers, educators, songwriters and activists, from every era and every style of music...but the catalogue is not complete! Here’s where YOU come in! See an entry for your favourite artist which needs a longer entry? Send us an expanded version! (limit: 200 words). Know a musician who is not even in the catalogue yet? Write an entry send it to: [email protected] Name Dates Category Career Highlights Listening Links Active Norma Abernethy 1930’s Performer Norma Abernathy was a pianist from Vancouver, British http://www.thecanadianencycl (1914-1973) - Columbia. She is best known as an accompanist and opedia.ca/en/article/norma- 1940’s soloist on radio stations such as CNRV and CBR, and as abernethy-emc/ a pianist with the Vancouver Chamber Orchestra and the Victoria Symphony Orchestra. Lydia Adams 1980s- Conductor Lydia Adams was born in Glace Bay, Nova Scotia and “Sing all ye https://www.thecanadianencycl (1953- ) Accompan completed her training at Mount Allison University in New joyful: the opedia.ca/en/article/lydia- ist Brunswick and the Royal College of Music in London, works of Ruth adams-emc/ Arranger England. She worked as an accompanist for the Elmer Watson Iseler Singers in the 1980s and early 1990s, and in 1997 Henderson” http://www.elmeriselersingers. she became the choir’s conductor and music director. Dr. com/lydia_adams.htm Adams was also the conductor and artistic director of the Amadeus Choir, and commissioned and premiered many works by Canadian composers.
    [Show full text]
  • Guide to the Richard Coulter Collection Collection Number
    Guide to the Richard Coulter Collection Collection number: MDML–019 Finding Aid prepared by: Eric Braley Edited by: Sharon Rankin Latest revision: 13 July 2016 Collection Summary Title The Richard Coulter Collection Span Dates 1953-1994 Creator Richard Coulter Collection size 24 linear feet Languages Collection material is primarily in English. Some items are in French, as well as German and Italian. Repository Marvin Duchow Music Library, McGill University, 3rd floor, 527 Sherbrooke St., Montréal, Québec, Canada. 514-398-4695 http://www.mcgill.ca/library/branches/music Abstract The Richard Coulter Collection consists of documents and media pertaining to programs written or produced by Richard Coulter for CBC Radio (and, briefly, television) from the 1950s to 1980s, as well as administrative documents from his work, first as Network Executive Producer (1977-82) and later as Coordinator of Radio Training for the English Network (1982-87). The collection contains a wealth of material, including radio and television scripts, correspondence, administrative files, project reports, concert programs, publicity, promotional information, press Guide to the Richard Coulter Collection Page 1 of 40 clippings, payment information, contracts, production and technical information, scores, and audio tapes. Selected Search Terms The following LCSH terms have been used to index the description of this collection in the Library’s catalogue: Coulter, Richard -- (Radio producer) -- Archives Canadian Broadcasting Corporation Music -- Canada -- History -- 20th century The collection entry can be found at: http://mcgill.worldcat.org/oclc/880970664. Administrative Information Provenance Gift from Richard Coulter. Accruals No further accruals are expected. Processing History The Richard Coulter Collection was first processed in June 2014 by Eric Braley.
    [Show full text]
  • Ezra Schabas Fonds
    University of Toronto Archives and Record Management Services Finding Aid – Ezra Schabas fonds Contains the following accessions: • B1996-0013 • B2008-0031 To navigate to a particular accession, use the bookmarks in the PDF file Ezra Schabas Personal Records B1996-0013 Records [textual; graphic; sound and moving images] 1958-1993. 12.20 metres Access: Open; selected records in Series 4, Subseries 5 are restricted. BIOGRAPHICAL NOTE Prof. Ezra Schabas was born in New York and received his Diploma in Clarinet (1943) and Bachelor of Science (1948) from the Juillard School. In 1949, he received his Master of Arts from Columbia University. He also studied at the Conservatoire de Nancy, and the Fontainebleau School for the Arts in France between 1945 and 1950. After several appointments at American universities (1948-1952), he joined the staff of the Royal Conservatory of Music as Director of Concerts and Publicity where he arranged concerts for leading young artists across Canada. During the 1950s he was active as a clarinetist and conductor and managed music at the Stratford Festival (1958 and 1961). In 1960 he joined the staff of the Faculty of Music as Special Lecturer, becoming Associate Professor in 1961 and Professor in 1968. From 1978 to 1983, he was Principal of the Royal Conservatory of Music. Prof. Schabas retired as Professor Emeritus in 1985. Scope and Content The accession documents Prof. Schabas' forty year career as teacher, administrator, and consultant with the Royal Conservatory of Music and the Faculty of Music at the University of Toronto, and his numerous external activities as consultant, juror, examiner, and as member in various professional and government organizations devoted to the promotion of the education and professional development of musicians in Canada and abroad.
    [Show full text]
  • Government Issue What Will Prime Minister Stephen Harper’S Arts and Culture Legacy Be?
    EQUITY QUARTERLY FALL 2009 TIME FOR A CULTURAL POLICY REVIEW ADRIENNE CLARKSON ON THE ARTS EQ CAN A UNION CHANGE A COUNTRY? The Government Issue What will Prime Minister Stephen Harper’s arts and culture legacy be? 1932 – Prime Minister R.B. Bennett initiates the creation of the CBC 1951 – Louis St. Laurent asks Vincent Massey to chair the Royal Commission on culture, which recommends the creation of the Canada Council for the Arts, established in 1957 1983 – The Federal Cultural Policy Review Committee, appointed by the Trudeau government, issues the Applebaum-Hébert Report on cultural policy 2000 – The government of Jean Chrétien creates the Tomorrow Starts Today arts funding initiative 2008 – Harper government cuts the Trade Routes and PromArt touring programs President’s message After writing the end-of-term summary for the last EQ, and then the full online report, I’m not certain what I have left to say. People who know me well will want to mark this occasion down in their diary or note it in their blog. Perhaps some kind of celebration is in order.... We are fast approaching the end of the Council term, and by the time you read this we will be in the middle of elections for the next. It has been an honour serving both Council and the membership as President for the past three years. It was a lot of work, but enormously fulfilling. That said, I need to remind everyone that the President is not at the top of the governance structure; that position belongs to Council itself.
    [Show full text]
  • Orchestral Music of the Canadian Centennial
    ! ! ORCHESTRAL MUSIC OF THE! CANADIAN CENTENNIAL ! ! ! ! ! ! Isaac !Page ! ! ! ! ! ! ! ! Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF! MUSIC May 2020 ! Committee: Emily Freeman Brown, Advisor Per Broman ! !ii ! ABSTRACT ! Emily Freeman Brown, Advisor ! In 1967, Canada celebrated its centennial anniversary of confederation. Celebrations were marked with many significant events in the decade leading up to the centennial, notably the adoption of a new Canadian flag, the construction of many cultural landmarks across the country, and Expo 67 in Montreal. In addition to these major cultural celebrations, there was a noticeable push to create and promote Canadian art. Approximately 130 compositions were written for the centennial year, with many commissions coming from Centennial Commission grants as well as the Canadian Broadcasting Corporation (CBC). Of those works, 51 were orchestral compositions that were intended to be performed by orchestras across the country. These works form an important collection that is ripe for study into compositional trends of the time. I believe that composers, writing for such a significant cultural event in Canada, attempted, consciously or not, to codify a Canadian musical identity. I will look into whether shared compositional traits could be considered signifiers of a general Canadian style by looking at previous scholarship on Canadian identity and how it can relate to music. Specific works will be analyzed by Applebaum, Eckhardt-Gramatté, Freedman, Glick, Hétu, Morel, Surdin, and Weinzweig. !iii ! ACKNOWLEDGMENTS ! Thank you to my parents, Carolyn Ricketts and Steven Page. I am very aware that I would likely not be where I am, and able to write a document like this, if both of my parents had not been musicians and had not continued to encourage me through my education.
    [Show full text]
  • Downloads/Newsletters/July August 2004.Pdf#Search= 'William%20Gasbarro%20Clarinet (Accessed February 25, 2011)
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Biographical Dictionary of Twentieth- Century American Clarinetists Tracey Lynn Paddock Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A BIOGRAPHICAL DICTIONARY OF TWENTIETH-CENTURY AMERICAN CLARINETISTS By TRACEY LYNN PADDOCK A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2011 The members of the committee approve the Treatise of Tracey L. Paddock defended on March 28, 2011. _________________________________ Frank Kowalsky Professor Directing Treatise _________________________________ Richard Clary University Representative _________________________________ Deborah Bish Committee Member _________________________________ Jeff Keesecker Committee Member The Graduate School has verified and approved the above-named committee members. ii To my husband Grant, who has stood by my side in the face of this and many other challenges, and to my parents, teachers, and friends, who have supported me generously and tirelessly. iii ACKNOWLEDGEMENTS I would like to acknowledge all of the teachers and mentors who have helped me on my musical, educational, and life path. To James Campbell, thank you for providing me with a strong musical foundation, and musical and philosophical inspiration which will last a lifetime, and which I try to pass on to my own students. To former committee member Eric Ohlsson, thank you for setting the comprehensive exam question that led me to this treatise. To former committee member John Deal, thank you for urging me to make the treatise “comprehensive.” To Howard Klug, thank you for your invaluable guidance at the onset of this journey.
    [Show full text]
  • Tftoyal Conservatory of Cmusic of TORONTO
    tftoyal Conservatory of CMusic OF TORONTO MONTHLY BULLETIN NOVEMBER, 1948 Conservatory Symphony Senior School Awards The following scholarship awards in The Royal Conservatory Symphony the Senior School of the Conservatory Orchestra began weekly rehearsals Octo¬ have been announced for the academic ber 4th, under the Principal’s leader¬ year 1948-49:— ship. The Orchestra was founded by Massey Harris Scholarship: Jean Ham¬ Frank Welsman in 1906, and is the ilton, St. Thomas, Ont., piano. Robert oldest symphonic organization in Tor¬ Simpson Company Scholarship: Patricia onto. Mr. Mazzoleni has been the con¬ Lewis, Regina, piano. E. P. Taylor ductor since 1934. Membership is made Scholarship: Carol Wright, Trail, B.C., up of advanced students of the Con¬ piano. Council of Jewish Women servatory. Scholarship: Andrew , Benac, Toronto, This season the Orchestra will be violin. Andre* Dorfman Scholarship: dividing its rehearsal time between prep¬ Lois Marshall, Toronto, voice. aration for public performances, con¬ Senior School Scholarships: Doreen certo readings with student soloists, and Stanton, Edmonton, piano; George Pyper, manuscript readings of works by student Toronto, violin; Anton Diel, Westmount, composers. The idea of using the P.Q., voice; Erica Zentner, Regina, orchestral rehearsals as a sort of “work¬ violin; Albert Marson, Toronto, voice; shop”, where student composers may Mario Bemardi, Kirkland Lake, Ont., have the valuable experience of hearing piano; Marguerite Gignac, Windsor, their own work in orchestration as it voice; Mary Alice Rogers, Hamilton, progresses, is in line with the Conserva¬ voice; Marian McLennan, Detroit, piano; tory’s policy of fostering original work Mario DeSotto, Windsor, violin; Jean by young Canadians.
    [Show full text]
  • Foreign Affairs Gets New Deputy Page 31 Employee
    Canada & the Arctic: Inuit, territories and non-coastal states weigh in—Pages 15-27 EMBASSYCANADA’S FOREIGN POLICY NEWSWEEKLY OTTAWA, WEDNESDAY, APRIL 14, 2010 ISSUE 300 • $3.00 CYBER SECURITY STRATEGY DEMANDED page 4 EU COPYRIGHT DEMANDS CAST A CHILL page 4 POLISH EMBASSY MOURNS PHOTO: SAM GARCIA NATIONAL EMBASSY Not-So-Sombre Moment: Chief of Defence Staff Gen. Walter Natynczyk, Governor General Michaëlle Jean and Prime Minister Stephen Harper laugh last week during a ceremony commemorating the 93rd anniversary of Vimy Ridge. Participants also remembered Canada’s First World War veterans, the last of whom died this year. Page 9. LOSS page 2 Experts see Is Security Council bid prompting link between pseudo-interest in Africa? ■ Michaëlle Jean trip highlights increased According to a rough itinerary of Ms. Jean’s trip, Gualtieri, the governor general will talk about the role of the outreach, but absence of solid initiatives. media in Senegal and Rwanda, tour several CIDA proj- ects in Rwanda and the DRC, deliver a speech to the Lee Berthiaume DRC National Assembly, and look at the economic Colvin cases and social progress achieved in Cape Verde. Ms. Jean, who was asked by Prime Minister ■ Gualtieri’s case ‘would have been an overnor General Michaëlle Jean will lead a small GCanadian delegation on a four-country tour of Stephen Harper to undertake the trip, will be embarrassment,’ whistleblower says. Africa starting today that will include stops in Rwanda, accompanied almost exclusively by several media Senegal, the Democratic Republic of Congo and Cape experts, artists and human rights activists. Above STRONGER Carl Meyer Verde.
    [Show full text]