DOCSLIB.ORG

Directing a Child Care Program: a Course for Administrators

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

19CUMENT RESUME ED 235 918 PS 013 934 AUTHOR McAdams, Janice Wheelon TITLE Directing a Child Care Program:A Course for Administrators. INSTITUTION North Carolina Univ., Chapel Hill. FrankPorter Graham Center. SPONS AGENCY North Carolina State Dept. of CommunityColleges, Raleigh. Occupational Program Services.;North Carolina State Dept. of Human Resources,Raleigh. Office of Day Care Services. PUB DATE 83 NOTE 680p.; Produced with advice from the NorthCarolina Department of Administration Office of ChildCare Licensing. PUB TYPE Guides Classroom Use Guides (For Teachers) (052) EDRS PRICE MF04/PC28 Plus Postage. DESCRIPTORS *Administrators; Community Colleges;*Course Content; Curriculum Development; *Day Care; EarlyChildhood Education; Enrollment; Facilities; HigherEducation; Legal Responsibility; Parent School Relationship; Personnel Management; Program Development;School Community Relationship; *Units of Study IDENTIFIERS North Carolina ABSTRACT This basic survey course for directors ofday care centers in North Carolina consists of eight unitsbased on the center director's areas of responsibility. Theseareas include operational planning; physical facilities; financialmanagement; legal issues; curriculum planning; staff, parent, andcommunity relations; and enrollment. Each unit consists of the followingcomponents: (1) job tasks and instructional performance objectives; (2)description of unit content, including knowledgeor skills needed to fulfill job tasks, suggested teaching methods, and materialsrecommended to accompany content and methods; and (3)numerous handouts related to, expanding on, and illustrating unitcontent. Designed to obtain the instructor's reaction to course material,an evaluation form is also included in each unit. Appendedare a resource list of related persons and/or agencies; a bibliography of supplementarymaterials, articles, and audiovisualresources; and a complete list of handouts included. (RH) *********************************************************************** * Reproductions supplied by EDRSare the best that can be made * * from the original document. * *********************************************************************** U.S. DEPARTMENT OF EDUCATION NATIONAL INSTITUTE OF EDUCATION EDUCATIONAL RESOURCES INFORMATION C Nil ER IERIL:1 This document has been reproduced as received from the person or organization originating it. Apar°, changes have been made to Improve reproduction quality. Points of view or opinions stated in this clocu ment do not necessarily represent official NIE position or policy. a C d Care ogr A Course for A strators cyz "PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTED BY Produced by N ,C. 0-F CtNi,ktru..) 1/4.4,A Co f Occupational Program Services TO THE EDUCATIONAL RESOURCES North Carolina-Department of Community Colleges INFORMATION CENTER (ERIC)" Office of Day Care Services DI North Carolina Department of Human Resources DIRECTING A CHILD CARE PROGRAM A COURSE FOR ADMINISTRATORS Devel oped by Janice Wheelon McAdams Frank Porter Graham Child Development Center Fall, 1983 Produced by Occupational Program Services Office of Day Care Services N. C. Dept. of Community Colleges N. C. Dept. of Human Rdsources With Advice From Office of Child Day Care Licensing N. C. Dept. of Administration Equal Opportunity and Affirmative Action It is the policy of the Community College System not todiscriminate on the basis of race, sex, age, national origin, religion, orhandicap with regard to its students, employees, or applicants for admission or employment. ii TABLE OF CONTENTS Title Page Acknowledgements Introduction vii Notes to Instructor ix Unit 1: Operational Planning 1.1 Handouts 1.29 Course Evaluation Form 1.99 Unit 2: Physical Facilities 2.1 Handouts 2.17 Course Evaluation Form 2.37 Unit 3: Financial Management 3.1 Handouts 3.25 Course Evaluation Form 3.91 Unit 4: Legal Issues in Child Care 4.1 Handouts 4.27 Course Evaluation Form 4.81 Unit 5: Curriculum Planning 5.1 Handouts 5.17 Course Evaluation Form 5.57 Unit 6: Staff 6.1 Handouts 6.21 Course Evaluation Form 6.113 Unit 7: Parent and Community Relations 7.1 Handouts 7.19 Course Evaluation Form 7.33 Unit 8: Enrollment 8.1 Handouts 8.15 Course Evaluation Form 8.41 Appendix A: Resource List 1 Appendix B: Bibliography 3 Appendix C: Index of Handouts 15 ACKNOWLEDGEMENT The development of this publication is dueto the commitment of some very hardworking individuals. We would like to expressour appreciation to Janice Wheelon McAdams of the Frank Porter Graham Child Development Center, ChapelHill, North Carolina, for the preparation of thematerial. The job task analysis, design of thecourse, advice on content, and review of the material was the work ofa task force composed of the following individuals: Peggy Ball, Program Coordinator Sue Creech, Chairman Educational Occupations Programs Early Childhood Associate Program Occupationill Program Services Pitt Community College N. C. Dept. of Community Colleges Greenville, North Carolina Raleigh, North Carolina Hope Drayton, Director Jan Keller, Head Worthdale Child Care Center Program Development Branch Raleigh, North Carolina Office of Day Care Services N. C. Dept. of Human Resourcas Raleigh, North Carolina Susan Law, Executive Director Beth May, Unit Supervisor Northwest Child Development Training and Technical Assistance Council, If Office of Day Care Services Winston-Salem, .arth Carolina N. C. Dept. of Human Resources Raleigh, North Carolina Janet Nickerson, Coordinator Jean Price, Chairman CDA and Training Early Childhood Associate Program Office of Child Day Care Licensing Davidson County Community College N. C. Dept. of Administration Lexington, North Carolina Raleigh, North Carolina Judie Rice, Education/ Don Smith, Administration . Career Developmert Coordinator Management Specialist Operation Breakthrough, Inc./ CABLE - STF Headstart N. C. A & T State University Durham, North Carolina Greensboro, North Carolina A very special thanks is extended to Sue Creech, Susan Law and Beth May who went beyond the usual task force responsibilities in locating resources, checking irformation and preparing material. Their discerning and perceptive criticism was of great value. We would also like to thank Carl C. Staley, Jr., ExecutiveDirector of United Da.).Care Services, Greensboro, North Carolina, and Sally Nussbaumo,., former director of the Frank Porter Graham Day CareCenter, Chapel dill, North Carolina, for their review of selectedportions of thisAterial. Their remarks and suggestions proved very helpful. We extend to Charlott Cole special appreciation for her typing and technical assistance on this publication. Project Coordinators Peggy Ball Jan Keller Janet Nickerson '7 vi INTRODUCTION There are 83,531 children enrolled in 2,226 licensed daycare centers in North Carolina. Some of those centers are large operations with extensive staff and enrollment. Others are a single individual who serves as both teacher and director. Each year many of those centers close their doors while an almost equal number of new centers open. This seems to be the clearest type of indication that child care centers offer a vital service, but successful operation is difficult. It is the job of the director of a child care center to assure the success of the operation. That is a difficult job for any director, and the list of units in this course indicates the complexity of that job. It is an especially complicated and difficult job for a director who has had little or no training in child care center administration. There are many child care centers that do an excellent job of fostering the growth of the children in their program, but they fail because the director lacks business skills. Conversely, many well-managed child care centers offer poor curriculums for the children or do a less than adequate job of community relations. The development of this course was initiated by three state agencies who had identified a specific need for comprehensive training about child care center administration. The primary criteria used for development was that the course be practical, job related, and specific to North Carolina. The resulting product is a course that is a statement of the need for good successful child care centers and the belief that such centers depend on the knowledge and skills of their directors. vii ) LV NOTES TO INSTRUCTORS The writing and design of this course was based on the following assumptions. I. This is a basic survey course for directors. It seeks to explain what the director does. 2. The course does not address the start-up of centers and therefore does not include information on center goals and objectives or detailed information on child development. These topics are mentioned where applicable but not included as material to be taught. 3. The material has been written for directors in North Carolina and includes information and examples specific to this state. It would be necessary to make some adaptations for use in another state. This course consists of eight units based on the areas of responsibility of a child care center director. These include operational planning, physical facilities, financial management, legal issues, curriculum planning, staff, parent and community relations, and enrollment. Each unit consists of the following components. 1. Job tasks and instructional performance objectives 2. The content of the unit including .knowledge or skills needed to fulfill job tasks . suggestedteaching methods .materials suggested to accompany knowledge and methods The layout
Recommended publications
  • Reflection and Emergence: Celebrating 20 Years of the Academy for the Love of Learning and Leonard Bernstein’S 100Th

    Reflection and Emergence: Celebrating 20 Years of the Academy for the Love of Learning and Leonard Bernstein’S 100Th

    Reflection and Emergence: Celebrating 20 years of the Academy for the Love of Learning and Leonard Bernstein’s 100th 201 AUGUST 25 8 1 Copyright © 2018 Academy for the Love of Learning, Inc. © Kate Russell About the Academy 2018 marks both The Academy for the Love of Learning’s 20th anniversary and the centennial of the birth of the 20th century musical giant Leonard Bernstein. The Academy shares a deep history with Leonard Bernstein, and ultimately was birthed from an intense collaboration between Bernstein and Academy founder and President Aaron Stern during the fnal decade of Bernstein’s life. Stern, then Dean of the American Conservatory of Music in Chicago, had a profound discovery about learning while observing how music students learned music. From that discovery, Stern recognized that a restoration of the human capacity to learn was essential not only to the revitalization of music, but all of education and more generally, Western culture itself. From this, Stern began to develop a body of work, pedagogy and learning methodologies that are now at the center of the Academy for the Love of Learning. Stern’s approach to learning found its counterpart in Bernstein’s vision for a better world and a lifelong commitment to sharing that vision through music. Stern’s clear conviction that by “taking the lid of learning, we can learn ourselves to a better world, individually and collectively” touched and inspired Bernstein deeply toward the end of his life. Bernstein invested in Stern enormously during that last decade of his life. Following Bernstein’s death in 1990, Stern developed further and implemented peripatetically the methodologies he frst began to explore while at the Conservatory.

  • 'You Do What You Gotta

    NDHSAA says winter SSPRINGPRING SSPORTSPORTS tournaments, spring seasons ‘not really an CCANCELEDANCELED option,’ SPORTS, A4 LATE EDITION SATURDAY, MAY 2, 2020 INFORUM.COM ‘You do what you gotta do’ ND school year Following pandemic closure, barbers say they’re to finish with ready to work long hours to meet demand distance learning By Ryan Stotts [email protected] Fargo 4 more Cass he whir and hum COVID-19 of clippers makes it residents die INNOU OUR REGION Thard to hear inside Skill Cutz Barbershop & from COVID-19 Salon. North Dakota totals It’s May 1, the first By April Baumgarten Positive cases: 1,107 (+40 day of business since Forum News Service RQ Gov. Doug Burgum lifted FARGO — North Dako- Hospitalizations: the closures on salons ta K-12 schools will con- Deaths: due to the coronavirus. tinue to educate students Cass County totals The shop, 2551 45th St. with distance learning for Positive cases: S. Suite 125, is teeming the rest of the academic Deaths: with life. year, Gov. Doug Burgum At least as much life announced Friday, May 1. Minnesota totals as is allowed in this “It’s certainly an emo- Positive cases: brave new world. tional decision to make, Hospitalizations: By 11 a.m., master particularly given how Deaths: barber Kenny Noelsaint, emotionally connect- Clay County totals in what looks like a full- ed we are to our schools Positive cases: length white hazmat David Samson / The Forum and our communities and Deaths: suit, complete with 3DVWRU-RQDV%XQG\JHWVKLVKDLUFXWRQ)ULGD\0D\E\EDUEHU.HQQ\1RHOVDLQW our teams,” Burgum said mask and face shield, is during a press conference 1RWH$VRISPODVWQLJKW)RUWKHPRVW DW6NLOO&XW]%DUEHUVKRSLQVRXWK)DUJR timely information, see InForum.com in Bismarck.
  • Leonard Bernstein's Boston

    Leonard Bernstein's Boston

    Before West Side Story: Leonard Bernstein’s Boston (Music 194) Professors: Carol J. Oja and Kay Kaufman Shelemay Teaching Fellow: Emily Abrams Requirements Emails: [email protected], [email protected], [email protected] Office hours: Professor Oja and Professor Shelemay: 3-4pm on Wednesdays. Emily Abrams: 10-11am on Wednesdays. Course description: This seminar will explore the childhood and early career of one of the 20th century's most renowned musicians and composers. Working in teams, students will fuse ethnography and archival research to explore the interlinking communities and institutions that shaped Bernstein's formative years. These include, but are by no means limited to, Congregation Mishkan Tefila in Newton, Boston Latin High School, Harvard (class of '39), and the BSO. Together, we will be launching a major collaborative research project. As a result, the expectations and work flow will differ greatly from the usual seminar. Instead of focusing on exams or individual research papers, “Leonard Bernstein’s Boston” involves lots of strategizing and working in groups. In other words, it requires a consistent time commitment and regular maintenance over the course of the semester, and it can only be successful if everyone pitches in at a steady pace. Regular attendance is essential. We will be functioning as a team, which means that it is crucial for everyone to be cooperative and collegial. All students will work on two levels: (1) preparation of and participation in class interviews and discussions, and (2) out-of-class research projects, pursued individually or in teams. There will be no midterm, final exam or traditional research paper.
  • Depaul Jazz Students Mix It Up

    Depaul Jazz Students Mix It Up

    The Journal of the DePaul School of Music FALL 2009 PLAY SERIOUS : DePaul Jazz Students Mix It Up THE JOURNAL OF THE DEPAUL SCHOOL OF MUSIC 1 E D PRELU Serious Play: DePaul Jazz Students Mix It Up A jazz musician is called upon to do remarkable provide real advocacy, programs in jazz things — to interpret written arrangements education can wither. Jazz is wonderfully alive which are themselves imprecise, to perform in in Chicago, though, and the program of jazz a manner that requires stylistic validity and education at DePaul remains thoroughly vibrant consistency with his or her ensemble collabora- in its energy and rather extraordinary in its tors, to demonstrate familiarity with a vast output. What, though, allows jazz to flourish repertory of classic jazz materials and recordings, here and not elsewhere? That’s the question we and to improvise — to spontaneously and seek to explore through this issue of Con Brio. concurrently create compelling music from We begin with some reflections on the quite three different sources: the harmonies, rhythms, wonderful partnership that has grown between and melodies of the piece being performed; the the DePaul jazz program and legendary jazz contributions of the other musicians performing, saxophonist Phil Woods over recent years. and the recorded performances of other jazz Through many rehearsals, recordings, and musicians at other times. For those new to the performances, the DePaul Jazz Ensemble and task, it can be more than daunting: it can be the master have developed a great respect for downright overwhelming. For those who have one another — to the benefit of jazz patrons learned to listen and appreciate jazz as a high everywhere — and meaningful collaborations art form, the experience can be euphoric.
  • Read Book Leonard Bernstein: West Side Story 1St Edition

    Read Book Leonard Bernstein: West Side Story 1St Edition

    LEONARD BERNSTEIN: WEST SIDE STORY 1ST EDITION PDF, EPUB, EBOOK Nigel Simeone | 9781351560382 | | | | | Leonard Bernstein: West Side Story 1st edition PDF Book The Observer. Oscar Levant , Earl Wild , and others come closer to Gershwin's own style. Learn More in these related Britannica articles:. The full reasons will probably never be known—reports suggest they were on friendly terms when they met, but sometimes practiced a little mutual one-upmanship. Candide had had a troubled history, with many rewrites and writers involved. Anita Kurt Ollmann Edit Did You Know? Far less well known is the fact that Shakespeare based his play on other material, particularly a narrative poem by Arthur Brooke entitled The Tragicall Historye of Romeus and Juliet Use the HTML below. Bernstein's major compositions during the s were his Mass: A Theatre Piece for Singers, Players, and Dancers ; his score for the ballet Dybbuk ; his orchestral vocal work Songfest ; and his U. A highlight of the tour was Bernstein's performance of Dmitri Shostakovich 's Fifth Symphony , in the presence of the composer, who came on stage at the end to congratulate Bernstein and the musicians. It won five Tony Awards , including Best Musical. He let go some curses that would curl your hair if it was translated into English. There, everything had been carefully worked out in rehearsal, with Nixon physically next to Kerr at all music rehearsals. Dedication "To Felicia with love". October 15, You must be a registered user to use the IMDb rating plugin. The composer, old and frail, was unable some reports say unwilling to attend the concert, but his wife did.
  • 1892 PC 50Th Anniv Program.Indd

    1892 PC 50Th Anniv Program.Indd

    2017–2018 Season Inspiration... out loud Artistic Director Robert Istad Gold Season Sponsor Phillip N. and Mary A. Lyons A 50th ANNIVERSARY CELEBRATION Sunday, October 29, 2017 at 5:30 p.m. Carnegie Hall Tour Sponsor Lenora Meister & Salt-Away Products Inc. Concert preview with Robert Istad at 4:30 p.m. Concert Sponsors Pacific Chorale The Shanbrom Family Foundation Robert Istad, Artistic Director & Conductor William J. Gillespie John and Lori Loftus Pacific Symphony Carl St.Clair, Music Director Rehearsal Sponsors Mary A. Lyons California State University, Fullerton’s University Singers Jeanette Moon Robert Istad, Director Southern California Children’s Concert Chorus Lori Loftus, Founding Artistic Director Carol Aspling, Assistant Conductor Members of the California State University, Fullerton Department of Dance Lisa D. Long, Professor & Choreographer Derek Chester, tenor James Taulli, stage director Robert Istad, conducting Program Tarik O’Regan (b. 1978) A Celestial Map of the Sky (2015) U.S. Premiere Community Partners: James F. Hopkins (b. 1939) Songs of Eternity (1992) I. My Song II. When Death Comes III. Peace, My Heart Pacific Chorale • Pacific Symphony Branding and PacificChorale.org website by —INTERMISSION— 1 Program, continued Leonard Bernstein (1918–1990) Mass (1971), concert selections edited by Doreen Rao (2007) I. Devotions Before Mass 1. Antiphon: Kyrie Kala Maxym, soprano 2. Hymn and Psalm: A Simple Song 3. Responsory: Alleluia II. Second Introit 4. Chorale: “Almighty Father” III. Confession 5. Trope: I Don’t Know Soloists: Matthew Kellaway and Denean Dyson 6. Meditation VI. Gloria 7. Gloria Tibi 8. Gloria in Excelsis 9. Trope: Half the People VII. Credo 10.
  • Leonard Bernstein's the Age of Anxiety

    Leonard Bernstein's the Age of Anxiety

    PHILIP GENTRY Leonard Bernstein’s The Age of Anxiety: A Great American Symphony during McCarthyism In 1949, shortly after Harry Truman was sworn into his first full term as president, a group of American writers, artists, scientists, and other public intellectuals organized a “Cultural and Scientific Conference for World Peace,” to be held at the Waldorf-Astoria Hotel in New York City. They were joined by a number of their counterparts in the Soviet Union, or at least as many as could procure a visa from the US State Department. Most prominent among the visitors was composer Dmitri Shostakovich, who through an interpreter delivered a lecture on the dangers of fascist influence in music handcrafted for the occasion by the Soviet govern- ment. The front-page headline in the New York Times the next morning read, “Shostakovich Bids All Artists Lead War on New ‘Fascists.’”1 The Waldorf-Astoria conference was at once the last gasp of the Popu- lar Front, and the beginning of the anticommunist movement soon to be known as McCarthyism. Henry Wallace’s communist-backed third- party bid for the presidency the previous fall had garnered 2.4 percent of the popular vote, but the geopolitical tensions undermining the Popu- lar Front coalition since the Nazi-Soviet Pact of 1939 were out in plain view a decade later. Once-communist intellectuals, like Irving Kristol and Dwight MacDonald, vigorously protested Stalinist influence on the conference, and in an ominous preview of the populist attraction of an- ticommunism, thousands of New Yorkers protested on the streets out- side.
  • Leonard Bernstein , 72, Music's Monarch, Dies HENAHAN, DONAL

    Leonard Bernstein , 72, Music's Monarch, Dies HENAHAN, DONAL

    Document 1 of 1 Leonard Bernstein , 72, Music's Monarch, Dies HENAHAN, DONAL. New York Times [New York, N.Y] 15 Oct 1990: .1. Abstract Throughout his Philharmonic years, he kept his ties with Broadway and the show-business friends he had made before he became an internationally adulated maestro. He had already written music for the musical version of ''Peter Pan'' (1950) and ''The Lark,'' a play starring Julie Harris (1955). For Hollywood, he wrote the score to ''On the Waterfront'' (1954). Musical successes on the stage followed: ''On the Town'' (1944), ''Wonderful Town'' (1953), ''[Candide]'' (1956) and ''West Side Story'' (1957). Several of the stage works continue to thrive: in 1985 Mr. Bernstein conducted a quasi-operatic version of ''West Side Story'' (the cast included Kiri Te Kanawa and Jose Carreras) that pleased him immensely and introduced the work to a new generation of listeners. Then there were the ballets ''Fancy Free'' (1944) and ''Facsimile'' (1946); the song cycles ''I Hate Music'' and ''La Bonne Cuisine''; the ''[Jeremiah]'' and ''Age of Anxiety'' symphonies; the one- act opera ''Trouble in Tahiti''; Serenade for violin and string orchestra with percussion; the Symphony No. 3 (''Kaddish''), and the ''Chichester Psalms.'' He continued composing, if only in spurts. Late works included ''Jubilee Games,'' ''Arias and Barcarolles,'' ''Halil'' and a sequel to his opera ''Trouble in Tahiti'' entitled ''A Quiet Place.'' After its premiere in Houston in 1983, ''A Quiet Place'' was produced at the Vienna State Opera, La Scala and the Kennedy Center in Washington. Full Text LEAD: Leonard Bernstein, one of the most prodigally talented and successful musicians in American history, died yesterday evening at his apartment at the Dakota on the Upper West Side of Manhattan.

  • Invitation to Dance

    Invitation to Dance 2018 Fall Youth Concerts Curriculum Guide This year’s Fall Youth Concerts focus on music inspired by dance. Throughout history, dance has been a central part of human nature and culture, as well as a great source of inspiration for music. This year’s program will explore the history and connection of dance and music, from the time of Bach to Bernstein, diving into the way music has inspired dance, and how dance has been an inspiration for great music. 2 Invitation to Dance 2018 Fall Youth Concerts John DeMain, conductor Tuesday, November 13, 2018 9:15 AM - 11:15 AM - 1:00 PM Overture Hall Concert Program Suite No. 3 in D Major: Gavotte I & II Johann Sebastian Bach Finale from The Creatures of Prometheus, Op. 43 Ludvig van Beethoven Featured soloist: Fall Youth Concerto Competition Winner Slavonic Dances, Op. 46 Antonín Dvoř ák No. 1 in C major No. 8 in G minor On the Town: Three Dance Episodes Leonard Bernstein The Great Lover Lonely Town (Pas de deux) Times Square 3 The Madison Symphony Orchestra welcomes you to our 37th Annual Fall Youth Concerts! We are thrilled to share the experience of a live orchestra concert with you and your students. In an effort to support your work in the classroom, we created this guide as an introduction to the concert program as you begin to prepare your students for a memorable and meaningful concert experience. In this curriculum guide, you will find an introduction to the concert theme, information about the Madison Symphony Orchestra and its conductor, biographical information about the composers, background information about the dances represented, perti- nent information about each piece with a focus on form, melody, or rhythm, recommended recordings and classroom activities, and information about the Fall Youth Concerto Competition.
  • Supporting Local Choral Music

    Supporting Local Choral Music

    – 1 – Spend a wild Wild Summer with the CHCC Summer Chorus, an eight-week program held at UNC's Hill Hall, beginning the fi rst Tuesday in June. Our concert performance, July 17th, is titled "The Wild, Wild West" and includes songs about cowboys and early settlers of the wild west by composers such as Libby Larsen, Aaron Copland, and Randol Bass. In addition to many regular CHCC singers, we welcome folks who per- haps haven't sung in years or who have fewer regular time commitments during the summer. A simple voice placement with the conductor is all that is required for membership. Dues are $50, which includes a chorus t- shirt. An additional fee is charged for the music packet. Register on-line at http://www.chapelhillcommunitychorus.org/ The Chapel Hill Community Chorus joins the Chapel Hill Philharmonia Sunday, February 22 at 3:00 p.m. in Hill Hall Auditorium Tone Poem for Flute and Orchestra — C. Griffes Elegy for Cello and Orchestra — G. Fauré Mass in G Minor — F. Schubert with the Chapel Hill Community Chorus g More info at: http://www.chapelhillphilharmonia.org – 2 – Chapel Hill Community Chorus SUE T. K LAUSMEYER, conductor 28th Season 2008-2009 An Italian Christmas Program .......................................................................................5 Text and Translations ...................................................................6 Performers .................................................................................13 Orchestra ...................................................................................16
  • Spring/Summer 2005

    Spring/Summer 2005

    PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Summer/Spring 2005 An Accolade for One Helluva Show by Richard Morrison As Lu11do11 welcomed back the pz,ergreen musical On the Town, the limes talks to lyricist Bctt)' Comden. any writers have captured something The Creative Team of the spirit of of On the Town New York. But in an apartment high above the Leonard Bernstein, bustle of her beloved Broadway Jerome Robbins, sits a frail 89-year-old woman who defined the city for a genera­ Betty Comden, and tion. Sixty-one years ago, Betty Adolph Green. 1944 Comden sat down with her writing partner, Adolph Green, in a little room just two blocks from where she now lives, and encapsulated the frenetic swirl of the great metropolis in one of the most evocative quatrains ever penned: New York, New York, a helluva town. The Bronx is up but the Battery's down, The people ideas, wrote the lyrics," she says. 24 hours' leave to explore its ride in a hole in the groun'; "We had complementary minds. delights. As Comden says: New York, New York, The same kind of humour, the "New York's streets were full it's a helluva town. same views. But as I had foolishly of servicemen, all searching for learnt to type, I was the one who joy before being sent into the Whether it was Comden or had to write it all down." war. We wanted to capture the Green who came up with these What she typed in the summer poignancy of those times." pulsating lines will never be of 1944 were the opening words Comden knew at first hand of known.
  • An Electrifying Bernstein Tribute from the Canton Symphony (Oct

    An Electrifying Bernstein Tribute from the Canton Symphony (Oct

    An Electrifying Bernstein Tribute from the Canton Symphony (Oct. 6) by Tom Wachunas I was all of ten years old when I read Leonard Bernstein’s The Joy of Music for the first time. It was a ​ ​ cathartic experience, igniting in me a profoundly passionate appreciation of classical music. That inspiring book also fueled my regular viewing of Bernstein’s beloved Young People’s Concerts on television for the next several years. A particularly memorable highlight in one of those concerts was watching the composer conduct excerpts from his own Symphonic Dances from West Side Story. I ​ ​ was bitten by the Bernstein bug, benevolently infected by all those mad rhythms coming at me like so many punches amid a torrent of luscious orchestral colors. Now, more than 50 years later, that watershed moment of musical enthrallment returned a hundredfold on October 6 during the Canton Symphony Orchestra’s electrifying observance of the centenary of Leonard Bernstein. The evening commenced with his rarely performed Trouble in Tahiti, a one-act, ​ ​ two-character opera which Bernstein completed in 1951 while on his honeymoon with Chilean actress Felicia Cohn Montealegre. The timing was quite ironic if only because ​ ​ on one level the work is a cynical commentary on marriage. Additionally, Bernstein was acutely sensitive to America’s post-war euphoria in an increasingly affluent middle-class looking for an idyllic life in suburbia. His libretto for Trouble in Tahiti is a biting ​ ​ critique of materialism and a dour questioning of the American Dream itself. Bernstein’s score is an ingenious melding of contrasting jazz and pop idioms of the day, rendered here by a pared-down ensemble that played nonetheless in a very large way, crisply embracing the story’s emotional and psychological tensions.