AMS Newsletter February 2013
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
MUH 5684 Tuesday, Period 3 | Thursday, Periods 3–4 • MUB 232 • Spring 2020 Dr
detail from F-Pn vma ms 1068 | hand of violinist Pierre Baillot | photo by Michael Vincent Introduction to Historical Musicology MUH 5684 Tuesday, Period 3 | Thursday, Periods 3–4 • MUB 232 • Spring 2020 Dr. Michael Vincent • [email protected] • MUB 351 • Thursday & Friday period 5 Please visit me during my office hours. I’m available to discuss our course or issues of professional development. Overview We explore critical approaches to the history of musicology as an academic discipline. The readings provide an overview of fundamental concepts and methodologies, and significant musicological writings representing style periods and conceptual issues. While musicologists traditionally focus on European music in the classical tradition, we will sample scholarship that focuses on a broad range of repertoires. Students will be encouraged to approach the discipline and its history critically. This critical approach will inform your personal work, giving you the tools to investigate your own topic in novel and insightful ways. Each student will choose a “lab rat” at the beginning of the semester: an artistic period, repertoire, performer, social movement, or composer. You will investigate your lab rat using the weekly methodology, diversifying your knowledge of your chosen subject. Your lab rat may grow in unexpected ways as the semester progresses. This course has prerequisites: successful completion of the complete undergraduate music history sequence; graduate student status; and successful completion of the music history entrance exam or the review course. Expectations ❖ Reading You’re expected to come to class having completed all reading on the syllabus for that week. You must be ready to engage with the materials. -
Performances As Analyses of Cyclic Macroform in Arnold Schoenberg's
Shaping Form: Performances as Analyses of Cyclic Macroform in Arnold Schoenberg’s Sechs kleine Klavierstücke, op. 19 (1911), in the Recordings of Eduard Steuermann and Other Pianists * Christian U and Thomas Glaser NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.20.26.4/mto.20.26.4.u.php KEYWORDS: analysis and performance, Arnold Schoenberg, corpus study of musical recordings, Eduard Steuermann, history of musical performance, Sechs kleine Klavierstücke, Six Lile Piano Pieces, op. 19 ABSTRACT: Arnold Schoenberg’s Sechs kleine Klavierstücke (Six Lile Piano Pieces), op. 19 (1911), offer a fruitful case study to examine and categorize performers’ strategies in regard to their form- shaping characteristics. A thorough quantitative and qualitative analysis of 46 recordings from 41 pianists (recorded between 1925 to 2018), including six recordings from Eduard Steuermann, the leading pianist of the Second Viennese School, scrutinizes the interdependency between macro- and microformal pianistic approaches to this cycle. In thus tracing varying conceptions of a performance-shaped cyclic form and their historical contexts, the continuous unfurling of the potential of Schoenberg’s musical ideas in both “structuralist” and “rhetorical” performance styles is systematically explored, offering a fresh approach to the controversial discussion on how analysis and performance might relate to one another. DOI: 10.30535/mto.26.4.9 Received January 2020 Volume 26, Number 4, December 2020 Copyright © 2020 Society for Music Theory 1. The Mutual Productivity of Performance and Analysis [1.1] In his 2016 book Performative Analysis, Jeffrey Swinkin, makes the striking observation that it can hardly be the point of a musical performance to project or communicate analytical understanding. -
View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927
J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 74 The Collection of Jacob Lateiner Part VI ARNOLD SCHOENBERG 1874-1951 ALBAN BERG 1885-1935 ANTON WEBERN 1883-1945 6 Waterford Way, Syosset NY 11791 USA Telephone 561-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. International customers are asked to kindly remit in U.S. funds (drawn on a U.S. bank), by international money order, by electronic funds transfer (EFT) or automated clearing house (ACH) payment, inclusive of all bank charges. If remitting by EFT, please send payment to: TD Bank, N.A., Wilmington, DE ABA 0311-0126-6, SWIFT NRTHUS33, Account 4282381923 If remitting by ACH, please send payment to: TD Bank, 6340 Northern Boulevard, East Norwich, NY 11732 USA ABA 026013673, Account 4282381923 All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. Fine Items & Collections Purchased Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c. -
Działalność Artystyczna Eduarda Steuermanna Do 1936 Roku
ISSN 2082-6044 ASPEKTY MUZYKI 2018, TOM 8, s. 309 –333 ISBN 978-83-64615-33-7 MAGDALENA DZIADEK Instytut Muzykologii Uniwersytetu Jagiellońskiego ul. Westerplatte 10, 31–033 Kraków, +48 12 663 16 70 [email protected] [email protected] ORCID: https://orcid.org/0000-0002-1409-7902 Działalność artystyczna Eduarda Steuermanna do 1936 roku Eduard Steuermann (1892–1914), syn adwokata z Sambora, zawdzięczał początki edukacji muzycznej matce, która była śpiewaczką-amatorką (uczyła także muzyki swoje dwie córki Rosę i Salomeę — przyszłe aktorki). Jeszcze przed rozpoczęciem regularnej nauki muzyki u Vilema Kurza w konserwatorium Galicyjskiego Towarzystwa Muzycznego we Lwowie występował publicznie jako cudowne dziecko. Studia u Kurza trwały od 1904 do 1910 roku. Już po roku nauki młody pianista wykonał we Lwowie publicznie Koncert fortepianowy C-dur Beethovena, a rok później wystąpił z nieznanym programem w Czerniow- cach1. Jednak właściwy debiut artysty odbył się w sali ukraińskiego stowarzysze- nia Dom Narodny we Lwowie 14 grudnia 1906 roku. Młody muzyk liczył sobie wówczas piętnaście lat. Wykonał obszerny i poważny program, w którym znala- zły się utwory później przez niego często grywane: Preludium i fuga Cis-dur Ba- cha, Fantazja op. 15 Schuberta, Vogel als Prophet (Ptak prorokiem) Schumanna, Ballada Brahmsa, Die erste Walpurgisnacht (Noc świętojańska) Mendelssohna w opracowaniu Liszta, Polonez Liszta, nieznany z tytułu utwór Sgambattiego oraz 24 preludia Chopina. Recenzje, jakie napisali krytycy lwowscy po tym kon- 1 Zob. Gr [Ludwik Gruder], Z Sali koncertowej, „Gazeta Narodowa” nr 282 z 16 grudnia 1906, s. 2. 310 MAGDALENA DZIADEK cercie, były bardzo pozytywne. Najbardziej wnikliwie wypowiedział się na temat zalet przyszłego pianisty Stanisław Niewiadomski, podkreślając biegłość tech- niczną, będącą rezultatem zarówno wrodzonych zdolności, jak i uczciwej pracy ucznia i jego mistrza, niezawodną pamięć, inteligencję oraz pewien chłód inter- pretacji, bynajmniej nie po młodzieńczemu wylewnej2. -
The Polish Pianist Artur Hermelin
M u z y k a l i a XIII · Judaica 4 The Polish Pianist Artur Hermelin H a n n a P a l m o n Introduction For many years, I knew about my late relative - the pianist Artur Hermelin - only this: that he grew up in Lwow (called Lemberg when he was born there in 1901); that he was a child prodigy; and that as a piano soloist he toured Europe with orchestras and gave recitals - some of which were broadcasted by the Polish Radio. I also knew that Artur perished in the Holocaust. When my father told me that, his eyes revealed how much he was still missing his cousin Artur, who had been one year older than him; that was 30 years after Artur’s tragic death, when I was still a child; it was far beyond my grasp, and it still is. We had an old small photo of Artur as a very young boy, hugging a big accordion and giving the camera a warm smile. During my recent attempts to collect details about Artur’s 41 years of life – I’ve read that Artur was among the musicians who were forced to perform music for the Nazis in the ghetto of Lwow and later in the labor camp; hundreds of thousands of Jews - Artur and his relatives among them - were murdered at the ghetto of Lwow and at its notorious Janowska camp, or transported from the ghetto or the camp to concentration camps, in the years 1941-1943. May the memory of the victims be blessed. -
New York Philharmonic
New York Philharmonic 2 3 Alan Gilbert and the New York Philharmonic New York Philharmonic 2012–13 Season Alan Gilbert has said that every concert offer with the audience in a very palpable, Alan Gilbert, Conductor should be an event, a philosophy that visceral, and potent way.” Emanuel Ax, Piano pervades the New York Philharmonic’s pro- These high-quality recordings of almost grams week after week. Twelve of these 30 works, available internationally, reflect concerts are captured live in Alan Gilbert Alan Gilbert’s wide-ranging interests and Recorded live October 4–6, 2012 and the New York Philharmonic: 2012–13 passions, from Bach’s B-minor Mass to Avery Fisher Hall at Lincoln Center for the Performing Arts Season, demonstrating the excitement sur- brand-new music by Christopher Rouse. rounding the Orchestra as the Music Direc- Bonus content includes audio record- J.S. BACH (1685–1750) tor has entered the fourth year of his tenure. ings of the Music Director's occasional Keyboard Concerto No. 1 in D minor, BWV 1052 About his rapport with the Philharmonic onstage commentaries, program notes players, Alan Gilbert has said: “The chem- published in each concert’s Playbill, and (ca. 1714–17/ca.1729–39) 21:43 istry between the Orchestra and me is encores — all in the highest audio quality Allegro 8:02 ever-evolving and deepening. It is a great available for download. Adagio 6:01 joy to make music with these incredible For more information about the series, Allegro 7:40 musicians and to share what we have to visit nyphil.org/recordings. -
The Aquitanian Sacred Repertoire in Its Cultural Context
THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, IN HOC ANNI CIRCULO, AND CANTUMIRO SUMMA LAUDE by ANDREA ROSE RECEK A THESIS Presented to the School ofMusic and Dance and the Graduate School ofthe University of Oregon in partial fulfillment ofthe requirements for the degree of Master of Arts September 2008 11 "The Aquitanian Sacred Repertoire in Its Cultural Context: An Examination ofPetri clavigeri kari, In hoc anni circulo, and Cantu miro summa laude," a thesis prepared by Andrea Rose Recek in partial fulfillment ofthe requirements for the Master ofArts degree in the School ofMusic and Dance. This thesis has been approved and accepted by: Dr. Lori Kruckenberg, Chair ofth xamining Committee Committee in Charge: Dr. Lori Kruckenberg, Chair Dr. Marc Vanscheeuwijck Dr. Marian Smith Accepted by: Dean ofthe Graduate School 111 © 2008 Andrea Rose Recek IV An Abstract ofthe Thesis of Andrea Rose Recek for the degree of Master ofArts in the School ofMusic and Dance to be taken September 2008 Title: THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, INHOC ANNI CIRCULO, AND CANTU MIRa SUMMA LAUDE Approved: ~~ _ Lori Kruckenberg Medieval Aquitaine was a vibrant region in terms of its politics, religion, and culture, and these interrelated aspects oflife created a fertile environment for musical production. A rich manuscript tradition has facilitated numerous studies ofAquitanian sacred music, but to date most previous research has focused on one particular facet of the repertoire, often in isolation from its cultural context. This study seeks to view Aquitanian musical culture through several intersecting sacred and secular concerns and to relate the various musical traditions to the region's broader societal forces. -
Brown, Orange, and Blue Gamelan Is Back at Illinois!
SPRING 2007 The News Magazine of the University of Illinois School of Music Brown, Orange, and Blue Gamelan is Back at Illinois! Crossover Artists Poker Games and Liberation Classes Jeffery S. Kimpton: Educator for a Lifetime Choice From the Interim Dean It is a pleasure for me to introduce this new edition of sonorities sonorities , the news magazine for the School of Music at Spring 2007 the University of Illinois at Urbana-Champaign. Published for alumni and friends of the After ten years as the chief academic officer of the Col - School of Music at the University of Illinois at Urbana-Champaign. lege of Fine and Applied Arts, Dean Kathleen F. Conlin The School of Music is a unit of the College recently stepped down to take up duties as the Barnard Hewitt Professor of of Fine and Applied Arts at the University of Theatre and Director in Residence in the Department of Theatre here at the Illinois at Urbana-Champaign and has been an accredited institutional member of the National University of Illinois. All of us in the College owe her a debt of gratitude, and Association of Schools of Music since 1933. the School of Music in particular has greatly benefited from her support of Karl Kramer, director such initiatives as the revitalized and expanded jazz program, the residency of Edward Rath, associate director the Pacifica Quartet, and the recruitment of world-class artists and scholars to Marlah Bonner-McDuffie, associate director, development teach our students. Indeed, it has been a daunting task for me personally as I David Atwater, assistant director, business fill in for her in the dean’s office while a national search is conducted to name Joyce Griggs, assistant director, enrollment management and public engagement her successor. -
The Modernist Kaleidoscope: Schoenberg's Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elain
The Modernist Kaleidoscope: Schoenberg’s Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elaine Neill Department of Music Duke University Date:_______________________ Approved: ___________________________ R. Larry Todd, Supervisor ___________________________ Severine Neff ___________________________ Philip Rupprecht ___________________________ John Supko ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 ABSTRACT The Modernist Kaleidoscope: Schoenberg’s Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elaine Neill Department of Music Duke University Date:_______________________ Approved: ___________________________ R. Larry Todd, Supervisor ___________________________ Severine Neff ___________________________ Philip Rupprecht ___________________________ John Supko ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Sarah Elaine Neill 2014 Abstract Much of our understanding of Schoenberg and his music today is colored by early responses to his so-called free-atonal work from the first part of the twentieth century, especially in his birthplace, Vienna. This early, crucial reception history has been incredibly significant and subversive; the details of the personal and political motivations behind deeply negative or manically positive responses to Schoenberg’s music have not been preserved with the same fidelity as the scandalous reactions themselves. We know that Schoenberg was feared, despised, lauded, and imitated early in his career, but much of the explanation as to why has been forgotten or overlooked. -
Musique Et Camps De Concentration
Colloque « MusiqueColloque et « campsMusique de concentration »et camps de Conseilconcentration de l’Europe - 7 et 8 novembre » 2013 dans le cadre du programme « Transmission de la mémoire de l’Holocauste et prévention des crimes contre l’humanité » Conseil de l’Europe - 7 et 8 novembre 2013 Éditions du Forum Voix Etouffées en partenariat avec le Conseil de l’Europe 1 Musique et camps de concentration Éditeur : Amaury du Closel Co-éditeur : Conseil de l’Europe Contributeurs : Amaury du Closel Francesco Lotoro Dr. Milijana Pavlovic Dr. Katarzyna Naliwajek-Mazurek Ronald Leopoldi Dr. Suzanne Snizek Dr. Inna Klause Daniel Elphick Dr. David Fligg Dr. h.c. Philippe Olivier Lloica Czackis Dr. Edward Hafer Jory Debenham Dr. Katia Chornik Les vues exprimées dans cet ouvrage sont de la responsabilité des auteurs et ne reflètent pas nécessairement la ligne officielle du Conseil de l’Europe. 2 Sommaire Amaury du Closel : Introduction 4 Francesco Lotoro : Searching for Lost Music 6 Dr Milijana Pavlovic : Alma Rosé and the Lagerkapelle Auschwitz 22 Dr Katarzyna Naliwajek–Mazurek : Music within the Nazi Genocide System in Occupied Poland: Facts and Testimonies 38 Ronald Leopoldi : Hermann Leopoldi et l’Hymne de Buchenwald 49 Dr Suzanne Snizek : Interned musicians 53 Dr Inna Klause : Musicocultural Behaviour of Gulag prisoners from the 1920s to 1950s 74 Daniel Elphick : Mieczyslaw Weinberg: Lines that have escaped destruction 97 Dr David Fligg : Positioning Gideon Klein 114 Dr. h.c. Philippe Olivier : La vie musicale dans le Ghetto de Vilne : un essai -
MUSIC in the RENAISSANCE Western Music in Context: a Norton History Walter Frisch Series Editor
MUSIC IN THE RENAISSANCE Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE RENAISSANCE Richard Freedman Haverford College n W. W. NORTON AND COMPANY Ƌ ƋĐƋ W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts— were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: Bonnie Blackburn Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics-Fairfield, PA A catalogue record is available from the Library of Congress ISBN 978-0-393-92916-4 W. -
Debussy and Schoenberg: Two Musical Reactions to Late Romanticism Priscila Ott Alcf Ao Oliveira James Madison University
James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2015 Debussy and Schoenberg: Two musical reactions to late romanticism Priscila Ott alcF ao Oliveira James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Music Performance Commons Recommended Citation Ott alcaF o Oliveira, Priscila, "Debussy and Schoenberg: Two musical reactions to late romanticism" (2015). Dissertations. 23. https://commons.lib.jmu.edu/diss201019/23 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Debussy and Schoenberg: Two Musical Reactions to Late Romanticism Priscila Oliveira A dissertation submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2015 Acknowledgments First and foremost, I praise God for providing me this opportunity and granting me the capability to proceed successfully. I thank him for allowing the right people to assist me during this work. I would like to express my deepest gratitude to my advisor and piano teacher, Dr. Lori E. Piitz, for her unbound guidance, support, encouragement and patience during the whole period of study, as well as during the writing process. I am also very grateful to Dr. Erik Ruple and Dr. Jason Haney, members of my committee, for their time spent in examining this document, and for their invaluable advice and helpful suggestions for improving it.