Cantate (Fall 2020)

Total Page:16

File Type:pdf, Size:1020Kb

Cantate (Fall 2020) Nathaniel_Dett igorstravinsky1 JSBACH_GOAT Dame Ethel Smyth Florence B. Price (is right) Sam Coleridge-Taylor ella-shepard Clara S. Johannes B. At the CSU Fullerton School of Music, We Believe … …that people learn and perform best in a safe and positive environment. …in student-centered teaching and learning. …that developing musicianship is key to your future success. …that Everything we do, we do Together. …that the quality of your musical training really matters. …in the power of music to change lives for the better. …that professionalism is a teachable skill. …that great conductors and singers must also be great teachers. …that how you do anything affects how you do everything. …in Reaching Higher to help you achieve your goals. …that Everything relates to Everything. …that together we are stronger. …that you will teach the way that you were taught. …that where you have been is much less important than where you are going. WHAT we do is important. WHY we do it, is for YOU! music.fullerton.edu 2 • CANTATE • VOL. 33, NO. 1 • FALL 2020 CALIFORNIA CHORAL DIRECTORS ASSOCIATION IN THIS ISSUE 5 | LEARNING AND GROWING FROM THE PRESIDENT’S PEN · BY JEFFREY BENSON 6 | “SHOW THEM THE LOVE” LETTER FROM THE EDITOR · BY ELIZA RUBENSTEIN AND BRANDI BIRDSONG 9 | COCOONING THE COMPOSER’S VOICE · BY DALE TRUMBORE 10 | ALL-STATE HONOR CHOIRS BY MOLLY PETERS 12 | 2020 HOWARD SWAN AWARD WINNERS 16 | SEEN & HEARD 19 | NOW WHAT? CROWD-SOURCED RESOURCES FOR REMOTE LEARNING FROM CCDA MEMBERS 47 | GEORGE HEUSSENSTAMM COMPOSITION CONTEST WINNER BY DAVID MONTOYA 66 | NEWS AND NOTES HAPPENINGS FROM AROUND THE STATE 69 | VISION FOR THE FUTURE SCHOLARSHIP FUND DONORS 70 | CCDA DIRECTORY our summer home at ECCO is quiet this year, but CCDA members are staying connected as we navigate the pandemic and look ahead to gathering in person in 2021! LEADING THE WAY CANTATE • VOL. 33, NO. 1 • FALL 2020 • 3 CANTATE Volume 33, Number 1 WHEREAS, Official publication of the the human spirit is elevated to a California Choral Directors broader understanding of itself through Association, an Affiliate of study and performance in the American Choral the aesthetic arts, and Directors Association WHEREAS, Eliza Rubenstein, editor serious cutbacks in funding and support have steadily eroded state [email protected] institutions and their programs throughout our country, GUIDELINES FOR SUBMISSIONS BE IT RESOLVED We welcome and encourage CCDA members that all citizens of the United to contribute articles, announcements, music and States actively voice their affirmative book reviews, job vacancy listings, photographs, and collective support for necessary and other items of interest to Cantate! funding at the local, state, and national Please send queries and article ideas to levels of education and government, to ensure the survival of arts programs [email protected]. You are also welcome to submit completed articles, but please for this and future generations. note that not all articles received will be published. California Choral Directors Association Deadlines for publication are as follows: empowers choral musicians to August 15 (Fall issue); November 1 create transformative experiences for (Winter issue); March 1 (Spring issue). California’s diverse communities. The editor reserves the right to edit all submissions. CCDA is a 501(c)3 non-profit, tax-exempt corporation and an affiliate of the American Choral Directors Association. ADVERTISING IN CANTATE Please visit our website (www.calcda.org) or e-mail us at [email protected] for UPCOMING EVENTS complete information on advertising in Cantate, including rates, deadlines, and graphics specifications. SATURDAY, SEPTEMBER 12: CCDA FALL Advertisements are subject to editorial approval. CONFERENCE (CHECK YOUR E-MAIL AND CCDA’S WEBSITE AND SOCIAL MEDIA FOR DEVELOPING On the cover: Zooming with the greats. INFORMATION!) 4 • CANTATE • VOL. 33, NO. 1 • FALL 2020 CALIFORNIA CHORAL DIRECTORS ASSOCIATION From The president’s pen: LEARNING AND GROWING hat a year 2020 has been so far! None Diversity, Equity, and Inclusion. Our work Wof us expected our classrooms to look will continue to intentionally diversify our so much like our living rooms, dining rooms, membership and Board of Directors to more and bedrooms this spring, but music teachers accurately reflect the state we serve. We and conductors all over the world pivoted to will create opportunities for our BIPOC virtual environments to provide our singers members and our students. Silence cannot and the best education possible during extenuating should not be tolerated any longer. CCDA JEFFREY BENSON IS circumstances. I’m unbelievably proud of the will continue to celebrate our diversity and DIRECTOR OF CHORAL work you’ve all done to adapt, stretch, and empower every choral musician in this state. ACTIVITIES AT SAN JOSÉ grow as choral conductors, as well as advocate for our programs across the state. We have n response to the worldwide pandemic, STATE UNIVERSITY. THE a diverse group of musicians and students in ICCDA has been extremely busy working WASHINGTON POST HAILS our organization and it’s our job to serve their to provide our members strong leadership diverse needs even in times of crisis. and exciting events to help lead the way. In HIS CHOIRS FOR SINGING CCDA’s core mission is to empower choral addition to our Tuesday webinar series this “WITH AN EXQUISITE BLEND, musicians to create transformative experiences past spring and our Summer Choral Summit for California’s diverse communities. In light of in July in place of our beloved conference SUBTLETY OF PHRASING, recent events in our country, CCDA is moving at ECCO, we will continue to provide CONFIDENT MUSICIANSHIP forward with a further commitment to take real presentations in the fall, and possibly in spring action in our organization to fight racism. We 2021, on topics related to online and hybrid AND FULLY SuppORTED are now working on actionable ways to effect teaching, virtual choirs, and new technologies, TONE…THAT WOULD meaningful change in this arena. Our board as well as reading sessions. CCDA is currently recently approved this statement to show our developing ways to provide honor choir BE THE ENVY OF SOME support for Black communities throughout our experiences for our middle school and high PROFESSIONAL ENSEMBLES.” state and our country: school students in a safe and healthy way that still is exciting for young singers all over the HE IS ALSO THE ARTISTIC The California Choral Directors Association condemns unjust police brutality and the state. Stay tuned for updates. DIRECTOR OF PENINSULA murder of Black people. We acknowledge that Thank you to our amazing board members who have volunteered extra hours this spring CANTARE, A COMMUNITY these senseless acts of violence stem from the larger issue of systemic racism throughout our and summer to better provide resources for CHORUS BASED IN PALO nation. It is crucial that we stand in solidarity all of us. Eliza Rubenstein has once again amazed us all by pulling together a truly ALTO. HE RECEIVED HIS to defend human rights and actively call out injustice. Black communities need our support. professional magazine with tremendous MASTERS DEGREE AND HIS Black lives matter. resources in record time. Molly Peters and her honor choir committee are working tirelessly DOCTORATE IN CHORAL CCDA is committed to intentional diver- sification of its membership and its Board of to inspire our student musicians in new ways CONDUCTING/MUSIC Directors to more accurately reflect the state virtually. Christy Rohayem stepped up to chair our brand-new Committee for Diversity, EDUCATION FROM THE it serves. We also seek to “broaden our tent” regarding the types of choral activities that may Equity, and Inclusion. Her leadership and the FLORIDA STATE UNIVERSITY speak to and honor people of color. Our mission entire committee’s work are leading the way for a more equitable and inclusive CCDA. AND HIS BACHELORS cannot and will not be upheld without fighting for marginalized communities. This statement is And finally, Alissa Aune, Buddy James, Arlie DEGREE IN MUSIC long overdue and is the first step toward tangible Langager, and Tina Peterson tackled our first EDUCATION FROM NEW action. Summer Choral Summit in record time—and Where hate divides, choral music has the what a fabulous learning experience for us all. YORK UNIVERSITY. power to unite and educate. It is imperative that I’m proud to be part of such an inspiring the choral community join the fight for equity. group of humans. CCDA continues to learn We will not be silent. and grow because of our members. Thank you for caring about each student. Thank you for This statement is just the beginning. making a difference. Thank you for changing CCDA recently formed a Committee for hearts and minds. Bravi tutti! LEADING THE WAY CANTATE • VOL. 33, NO. 1 • FALL 2020 • 5 letter from the editor: “Show them the love” oday I write, and we all live, under the slavery and all of your classmates turn and Tpall of a pandemic that disproportion- look at you. I’ve had a choir-mate actually tell ately affects Americans of color, amid the me I’d get into a university because I happen echoes of the Black Lives Matter protests to be a black girl interested in opera—as if I that continue to shake our nation awake, wouldn’t get in for my talent or musicianship. ELIZA RUBENSTEIN IS THE and in the mournful reverent hours after civil The idea that I would get things handed DIRECTOR OF CHORAL rights hero Rep. John Lewis has left this to me for affirmative action purposes when earth. Today—every day, actually—is a good I feel I have to work harder than others to AND VOCAL ACTIVITIES AT day to listen more than be taken seriously ORANGE COAST COLLEGE, to speak, and I’ve asked is a back-handed one of my gifted former compliment.
Recommended publications
  • Black US Army Bands and Their Bandmasters in World War I
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of Fall 8-21-2012 Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Black US Army Bands and Their Bandmasters in World War I" (2012). Faculty Publications: School of Music. 25. https://digitalcommons.unl.edu/musicfacpub/25 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 Version of 08/21/2012 This essay is a work in progress. It was uploaded for the first time in August 2012, and the present document is the first version. The author welcomes comments, additions, and corrections ([email protected]). Black US Army bands and their bandmasters in World War I Peter M. Lefferts This essay sketches the story of the bands and bandmasters of the twenty seven new black army regiments which served in the U.S. Army in World War I. They underwent rapid mobilization and demobilization over 1917-1919, and were for the most part unconnected by personnel or traditions to the long-established bands of the four black regular U.S. Army regiments that preceded them and continued to serve after them. Pressed to find sufficient numbers of willing and able black band leaders, the army turned to schools and the entertainment industry for the necessary talent.
    [Show full text]
  • MU/AAS 1103 Co
    MISSISSIPPI STATE UNIVERSITY COLLEGE OF EDUCATION DEPARTMENT of MUSIC COURSE SYLLABUS Course Prefix and Number: MU/AAS 1103 Course Title: African American Music Credit hours: Three (3) semester hours Type of Course: Lecture Catalog Description : Three hours lecture. A study of African musical and cultural traditions with focus on the impact of these traditions on the development and advancement of African-American music. College of Education Conceptual Framework: The faculty in the College of Education at Mississippi State University are committed to assuring the success of students and graduates by providing superior learning opportunities that are continually improved as society, schools, and technology change. The organizing theme for the conceptual framework for the College of Education at Mississippi State University is educational professionals - dedicated to continual improvement of all students’ educational experiences. The beliefs that guide program development are as follows: 1. KNOWLEDGE - Educational professionals must have a deep understanding of the organizing concepts, processes, and attitudes that comprise their chosen disciplinary knowledge base, the pedagogical knowledge base, and the pedagogical content knowledge base. They must also know how to complement these knowledge bases with the appropriate use of technology. 2. COLLABORATION - Educational professionals must continually seek opportunities to work together, learn from one another, forge partnerships, and assume positions of responsibility. 3. REFLECTION - Educational professionals must be willing to assess their own strengths and weaknesses through reflection. They must also possess the skills, behaviors, and attitudes necessary to learn, change, and grow as life-long learners. 4. PRACTICE - Educational professionals must have a rich repertoire of research-based strategies for instruction, assessment, and the use of technologies.
    [Show full text]
  • Ecomusicology: Bridging the Sciences, Arts, and Humanities
    Ecomusicology: Bridging the Sciences, Arts, and Humanities By: Aaron S. Allen Aaron S. Allen, “Ecomusicology: Bridging the Sciences, Arts, and Humanities,” in Environmental Leadership: A Reference Handbook, ed. Deborah Rigling Gallagher (Sage Publications, 2012), 373-381. Made available courtesy of SAGE Publications: http://dx.doi.org/10.4135/9781452218601 ***© 2012 SAGE Publications. Reprinted with permission. No further reproduction is authorized without written permission from SAGE Publications. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Paul Ehrlich is a key figure in modern environmental studies. In addition to ecological research, Ehrlich is known for his warnings about human overpopulation (Ehrlich, 1968). In the 1970s, he made a well-known wager with economist Julian Simon: Ehrlich contended that natural resource prices would increase continually during the 1980s, indicating increased scarcity and human suffering brought about by overpopulation, while Simon believed that prices would decline. Ehrlich was a good sport, and because his neo-Malthusian concerns lost to Simon's cornucopianism, he paid up and admitted he was wrong—but he was wrong only for that decade. Considering a longer time scale, from 1900 to 2008, we see that Ehrlich's perspicacious concerns were indeed correct (Kiel, Matheson, & Golembiewski, 2010). In the inaugural edition of the Journal of Environmental Studies and Sciences, Ehrlich (2011) provided his “personal view” of environmental education. Considering his role as an important and respected environmental thinker and leader, and given the presentation of his ideas in such an auspicious forum, Ehrlich's advice merits our consideration.
    [Show full text]
  • Understanding the Causes and Effects of Regional Orchestra Bankruptcies in the San Francisco Bay Area
    UNIVERSITY OF CALIFORNIA Santa Barbara Breakdown on the Freeway Philharmonic: Understanding the Causes and EFFects oF Regional Orchestra Bankruptcies in the San Francisco Bay Area A dissertation submitted in partial satisFaction oF the requirements for the degree Doctor oF Philosophy in Music by Alicia Garden Mastromonaco Committee in charge: ProFessor Derek Katz, Chair ProFessor SteFanie Tcharos ProFessor Martha Sprigge December 2020 The dissertation oF Alicia Garden Mastromonaco is approved. _____________________________________________ Martha Sprigge _____________________________________________ SteFanie Tcharos _____________________________________________ Derek Katz, Committee Chair December 2020 Breakdown on the Freeway Philharmonic: Understanding the Causes and EFFects oF Regional Orchestra Bankruptcies in the San Francisco Bay Area Copyright © 2020 by Alicia Garden Mastromonaco iii DEDICATION I dedicate this dissertation to my Friends and colleagues in the Bay Area orchestral world, the Freeway Philharmonic musicians. I hope that this project might help us keep our beloved musical spaces for a long time to come. iv ACKNOWLEDGEMENTS I must first acknowledge my advisor Derek, without whose mentorship this project likely would not have existed. He encouraged me to write about small regional orchestras in the Bay Area and saw the kernel oF what this project would become even beFore I did. His consistent support and endless knowledge on closely related topics shaped nearly every page oF this dissertation. I am also grateFul to SteFanie Tcharos and Martha Sprigge, who have inspired me in their rigorous approach in writing, and who have shaped this dissertation in many ways. This project was borne out oF my own experiences as a musician in the Bay Area orchestral world over the last fourteen years.
    [Show full text]
  • Music and Environment: Registering Contemporary Convergences
    JOURNAL OF OF RESEARCH ONLINE MusicA JOURNALA JOURNALOF THE MUSIC OF MUSICAUSTRALIA COUNCIL OF AUSTRALIA ■ Music and Environment: Registering Contemporary Convergences Introduction H O L L I S T A Y L O R & From the ancient Greek’s harmony of the spheres (Pont 2004) to a first millennium ANDREW HURLEY Babylonian treatise on birdsong (Lambert 1970), from the thirteenth-century round ‘Sumer Is Icumen In’ to Handel’s Water Music (Suites HWV 348–50, 1717), and ■ Faculty of Arts Macquarie University from Beethoven’s Pastoral Symphony (No. 6 in F major, Op. 68, 1808) to Randy North Ryde 2109 Newman’s ‘Burn On’ (Newman 1972), musicians of all stripes have long linked ‘music’ New South Wales Australia and ‘environment’. However, this gloss fails to capture the scope of recent activity by musicians and musicologists who are engaging with topics, concepts, and issues [email protected] ■ relating to the environment. Faculty of Arts and Social Sciences University of Technology Sydney Despite musicology’s historical preoccupation with autonomy, our register of musico- PO Box 123 Broadway 2007 environmental convergences indicates that the discipline is undergoing a sea change — New South Wales one underpinned in particular by the1980s and early 1990s work of New Musicologists Australia like Joseph Kerman, Susan McClary, Lawrence Kramer, and Philip Bohlman. Their [email protected] challenges to the belief that music is essentially self-referential provoked a shift in the discipline, prompting interdisciplinary partnerships to be struck and methodologies to be rethought. Much initial activity focused on the role that politics, gender, and identity play in music.
    [Show full text]
  • Encyclopedia of African American Music Advisory Board
    Encyclopedia of African American Music Advisory Board James Abbington, DMA Associate Professor of Church Music and Worship Candler School of Theology, Emory University William C. Banfield, DMA Professor of Africana Studies, Music, and Society Berklee College of Music Johann Buis, DA Associate Professor of Music History Wheaton College Eileen M. Hayes, PhD Associate Professor of Ethnomusicology College of Music, University of North Texas Cheryl L. Keyes, PhD Professor of Ethnomusicology University of California, Los Angeles Portia K. Maultsby, PhD Professor of Folklore and Ethnomusicology Director of the Archives of African American Music and Culture Indiana University, Bloomington Ingrid Monson, PhD Quincy Jones Professor of African American Music Harvard University Guthrie P. Ramsey, Jr., PhD Edmund J. and Louise W. Kahn Term Professor of Music University of Pennsylvania Encyclopedia of African American Music Volume 1: A–G Emmett G. Price III, Executive Editor Tammy L. Kernodle and Horace J. Maxile, Jr., Associate Editors Copyright 2011 by Emmett G. Price III, Tammy L. Kernodle, and Horace J. Maxile, Jr. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review, without prior permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Encyclopedia of African American music / Emmett G. Price III, executive editor ; Tammy L. Kernodle and Horace J. Maxile, Jr., associate editors. p. cm. Includes bibliographical references and index. ISBN 978-0-313-34199-1 (set hard copy : alk.
    [Show full text]
  • Paris 2018 Gay Games 10 Page 6
    No. 551 • April 28, 2016 • outwordmagazine.com Paris 2018 Gay Games 10 page 6 Dying to Live LGBT Sacramento Valley Mr. Bolt Leather CGNIE Crowns a New Veterans Stand Down 2016 Ray Sherwin Emperor and Empress page 11 page 14 page 15 page 20 COLOR COLOR Find Your Escape! 2016 Subaru Outback Remembering Gerald Louis “Gerry” Arredondo Remembering Daved Girard Gerald Louis “Gerry” Arredondo, age 62, My Beautiful Daved is gone and I am so Outword passed away at Kaiser Hospital, Roseville, on heart broken. He was my partner of six Sunday, April 10, 2016. wonderful years and my one true LOVE. I Born on December 12, 1953, in San Jose, would like to share with you a poem that he Staff he graduated from Mount Pleasant High wrote, so that you might know him better. TJ Bruce PUBLISHER School in San Jose and worked and lived Fred Palmer several years in San Jose before settling in Roseville, 13 years ago. ART DIRECTOR/PRODUCTION He worked at the Lincoln Station of the Ron Tackitt United States Postal Service as a Rural GRAPHIC DESIGN Carrier, and was a member of the Ron Tackitt Sacramento Gay Men’s Chorus. Marc Hébert Survivors include his partner, Michael Harrison; and his daughter, Nicole Terry and EDITOR her husband, Leslie and children, Hannah Charles Peer [email protected] and Madison; and his son, Niklaus Arredondo and his companion, Maria, and ARTS EDITOR children, Soyla and Selma; and his parents, Chris Narloch Jay and Mary Arredondo, and his sister, Betty Gerald Louis “Gerry” Arredondo Arredondo. In addition, he has several A funeral service will be held Tuesday, SALES Fred Palmer Uncles, Aunts and Cousins; and a wealth of April 19, at 1:30 p.m.
    [Show full text]
  • The Introduction of the Black Conductor Akeila Thomas; Faculty Sponsor: Dr
    The Introduction of the Black Conductor Akeila thomas; Faculty Sponsor: Dr. Jamie Weaver The conductor has become a position of great influence and necessity to the performing ensemble due to innovations in performance between the Baroque and mid to late Romantic periods. With such prominence given to the title, one such conductor has gained very little mention throughout the course of music's history. African-American musicians have played such a catalytic role in the shape and progression of Western music. Thorough research demonstrates that general knowledge of the influence of black conductors has developed slowly and has been largely overlooked. My research was conducted to determine the importance of the black conductor and his contribution to American music. • I narrowed my focus to the four genres that were the most prominent in America during the early to mid 20th century: The Symphony, Jazz, The Negro Spiritual and Opera. • I researched the lives, compositions and accomplishments of conductors William Grant Still, Duke Ellington, Anton Armstrong, and Henry Lewis. These conductors were the most influential African-Americans in these genres. • I studied the scores, listened to recordings and watched performances of their works in order to gain a more personal view of their ideals in music. http://www.controappuntoblog.org/2012/03/15/william-grant-still-1895-1978/ http://everyguyed.com/lookbook/style-icon-jazz-musicians http:/du/m/www.baylor.eediacommunications/news.php?action=story&story=38383 http://africlassical.blogspot.com/2012/04/john-malveaux-african-american.html • My research allowed me to see that the black conductor is specific only to American music genres.
    [Show full text]
  • LUNDY-DISSERTATION-2015.Pdf (676.0Kb)
    © Copyright by Georgianne Lundy December, 2015 AN ETHNOGRAPHIC CASE STUDY OF ORCHESTRA DIRECTORS AT HISTORICALLY BLACK COLLEGES AND UNIVERSITIES ____________________ A Dissertation Presented to The Faculty of the Moores School of Music University of Houston ____________________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Music Arts ____________________ By Georgianne Lundy December, 2015 AN ETHNOGRAPHIC CASE STUDY OF ORCHESTRA DIRECTORS AT HISTORICALLY BLACK COLLEGES AND UNIVERSITIES _____________________ An Abstract of a Dissertation Presented to The Faculty of the Moores School of Music University of Houston ____________________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Musical Arts ____________________ By Georgianne Lundy December, 2015 ABSTRACT The purpose of this ethnographic study is to explore the experiences of orchestra directors at Historically Black Colleges and Universities (HBCUs). While there have been a few studies regarding African American orchestra students in public schools, I am unaware of research that has explored these college level ensembles from the perspective of their directors. Critical Race Theory (CRT) was used as a theoretical framework for this study. Specifically, this study sought to answer the following research questions: (a) What are the experiences of orchestra directors at HBCUs? (b) What are the challenges faced by HBCU orchestra directors, and how do they address them? and (c) How do HBCU orchestra directors describe their successes? I chose five participants based on their reputations as successful directors. Data collection included audio-recordings of semi-structured interviews and observations of the directors at their respective campuses. Data were coded and analyzed for emerging themes, and trustworthiness was ensured through member checks, peer review, and data triangulation.
    [Show full text]
  • Reference Books Classical the New Grove Dictionary of Music and Musicians, 20 Vols
    LSC - Montgomery Library 3200 College Park Dr. Bldg. F Music Conroe, TX 77384 http://www.lonestar.edu/library 936-273-7390 Reference Books Classical The New Grove Dictionary of Music and Musicians, 20 vols. REF ML 100.N48 2001 Penguin Companion to Classical Music REF ML 102 .C53 G75 2006 Encyclopedia of the Piano REF ML 102.P5E53 1996 Baker’s Biographical Dictionary of Musicians REF ML 105.B16 1992 The Harvard Biographical Dictionary of Music REF ML 105.H38 1996 The Norton/Grove Dictionary of Women Composers REF ML 105.N66 1994 Baker’s Biographical Dictionary of Twentieth Century Classical Musicians REF ML 105.S612 1997 Dictionary of American Classical Composers REF ML 106 .U3 B87 2005 Musical Terminology: A Practical Compendium in Four Languages REF ML 108.B55 1999 Musical Terms, Symbols and Theory REF ML 108.T46 1989 A History of Western Music REF ML 160.G87 2001 Oxford History of Western Music REF ML 160.T18 2005 Music Since 1900 REF ML 197.S634 1994 Black Conductors REF ML 402.H36 1995 Jazz and Blues Encyclopedia of the Blues REF ML 102 .B6E53 2006 Jazz: The Rough Guide REF ML 102.J3C325 1995 The New Grove Dictionary of Jazz, 3 vols. REF ML 102.J3N48 2002 Encyclopedia of Rhythm & Blues and Doo-Wop Vocal Groups REF ML 102.P66R67 2000 The Blackwell Guide to Recorded Jazz REF ML 156.4.J3B66 1996 The Oxford Companion to Jazz REF ML 3507.O94 2000 The Blues: From Robert Johnson to Robert Cray REF ML 3521.R87 1997 Opera and Theatre Gänzl’s Book of the Musical Theatre REF MT 95.G2 1989 The Encyclopedia of the Musical Theatre, 3 vols.
    [Show full text]
  • European Masterworks in Memoriam SCSO Cellist & Friend, Judy Waegell
    Sacramento Choral Society & Orchestra Donald Kendrick, Music Director Saturday, March 8 ~ 8 p.m. Pre-concert talk ~ 7 p.m. Sacramento Community Center Theater European Masterworks In Memoriam SCSO Cellist & Friend, Judy Waegell Stabat Mater 1907 Charles Villiers Stanford 1852 –1924 Marina Boudart Harris, Soprano Malin Fritz, Alto Mathew Edwardsen, Tenor Eugene Villanueva, Baritone 1. Prelude 2. Stabat Mater dolorosa 3. Intermezzo 4. Eja Mater 5. Finale – Virgo virginum praeclara Intermission Symphony No. 2 Lobgesang 1840 Felix Mendelssohn 1809–1847 Marina Boudart Harris, Soprano Carrie Hennessey, Soprano Mathew Edwardsen, Tenor 1. Sinfonia 2. Alles was Odem hat lobe den Herrn Chorus, Soprano 3. Saget es Tenor 4. Sagt es, die ihr erlöst seid Chorus 5. Ich harrete des Herrn Soprano, Mezzo, Chorus 6. Strick des Todes hatten uns umfangen Tenor, Soprano 7. Die Nacht ist vergangen Chorus 8. Nun danket alle Gott Chorus 9. Drum sing’ ich mit meinem Liede Tenor, Soprano 10. Ihr Völker! Bringet her dem Herrn Ehre und Macht Chorus SINCE ITS ESTABLISHMENT IN 1996, the Sacramento Choral Society and Orchestra (SCSO), conducted by Donald Kendrick, has grown to become one of the largest symphonic choruses in the United States. Members of this auditioned, volunteer, professional-caliber chorus, hailing from six different Northern California Counties, have formed a unique arts partnership with their own professional symphony orchestra. The Sacramento Choral Society is a non-profit organization and is governed by a Board of Directors responsible for the management of the Corporation. An Advisory Board and a Chorus Executive elected from within the ensemble also assist the Society in meeting its goals.
    [Show full text]
  • Journal of the Conductors Guild
    Journal of the Conductors Guild Volume 29, Numbers 1 & 2 2009 719 Twinridge Lane Table of Contents Richmond, VA 23235-5270 T: (804) 553-1378; F: (804) 553-1876 E-mail: [email protected] [email protected] Maestro Dean Dixon page 1 Website: www.conductorsguild.org . Advancing the Art and Profession (1915-1976): A Forgotten Officers American Conductor by Rufus Jones, Jr. D.M.A. Michael Griffith, President John Farrer, Secretary James Allen Anderson, President-Elect Lawrence J. Fried, Treasurer Gordon J. Johnson, Vice-President Sandra Dackow, Past President Visionary Leadership and the page 6 Board of Directors Conductor Ira Abrams Claire Fox Hillard Lyn Schenbeck by Nancy K. Klein, Ph.D. Leonard Atherton Paula K. Holcomb Michael Shapiro Christopher Blair Rufus Jones, Jr.* Jonathan Sternberg* David Bowden John Koshak Kate Tamarkin Creating a Fresh Approach to page 12 John Boyd Anthony LaGruth Harold Weller Conducting Gesture Jeffrey Carter Peter Ettrup Larsen Kenneth Woods by Charles L. Gambetta, D.M.A. Stephen Czarkowski Brenda Lynne Leach Amanda Winger* Charles Dickerson III David Leibowitz* Burton A. Zipser* Kimo Furumoto Lucy Manning *ex officio Mussorgsky/Ravel’s Pictures at an page 31 Jonathan D. Green Michael Mishra Exhibition : Faithful to the Wrong Earl Groner John Gordon Ross Source by Jason Brame Advisory Council Pierre Boulez Tonu Kalam Maurice Peress Emily Freeman Brown Wes Kenney Donald Portnoy Score and Parts: Maurice page 43 Michael Charry Daniel Lewis Barbara Schubert Ravel’s Bolero Harold Farberman Larry Newland Gunther Schuller by Clinton F. Nieweg and Nancy M. Adrian Gnam Harlan D. Parker Leonard Slatkin Bradburd Samuel Jones Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Leonard Slatkin Maurice Abravanel Margaret Hillis Esa-Pekka Salonen Marin Alsop James Levine Sir Georg Solti Leon Barzin Kurt Masur Michael Tilson Thomas Leonard Bernstein Max Rudolf David Zinman Pierre Boulez Robert Shaw Thelma A.
    [Show full text]