Chronicles Newsletter of the UCSD Emeriti Association

Total Page:16

File Type:pdf, Size:1020Kb

Chronicles Newsletter of the UCSD Emeriti Association Chronicles Newsletter of the UCSD Emeriti Association December 2010 Volume X, No. 2 Confronting UCSD’S Budget CriSiS By Paul Drake as social services and K-12, above UC. Professor Emeritus of Political For UCSD to expect a rescue from Science UCOP seems an equally slim hope. That office has finally mounted a funding UCSD continues to suffer from the campaign in Sacramento, but to little worst budget crisis in its history. This avail. Although the President and the financial disaster consumed my just- Regents recently approved vital hikes ended term as Senior Vice Chancellor (of 8 percent) in student fees, they are for Academic Affairs. In the last few unwilling to charge enough to cover our years, the budget for academic person- costs. The only other money available to nel and programs has been depleted by Oakland is taken from the campuses. decisions made by the state, by the Uni- UCOP’s financial decisions are just versity of California Office of the Presi- as likely to harm as to help UCSD. Ex- dent (UCOP), and by UCSD. During amples include four recent initiatives the devastation wrought by the “Great that we vigorously opposed. Three years Recession,” I learned four key lessons ago, UCOP imposed an across-the- resources to pay for it. Although we sup- about how the academic core of the uni- board, rather than merit-based, increase ported boosting salaries, we deplored the versity can survive and revive. in faculty salaries that confiscated our First, UCSD must craft its own so- methodology. Then UCOP jacked up lutions to the economic downturn. Even graduate student fees, which are more if the state and UCOP eventually bring of a cost to us than a source of income. us some relief, it is unlikely to be suffi- Thereafter they escalated employer con- cient to realize our aspirations. For the tributions to the strapped retirement foreseeable future, we cannot rely on system, which the campuses will have bailouts from Sacramento or Oakland. to underwrite. Now they are proposing Although we should continue to a cap on non-resident student enroll- lobby the state government to revive its ments, our major new prospect for rev- funding for the UC system, we would enue gains. Meanwhile they continue to be naïve to count on it. Our state has channel to other campuses substantial v v v v v v nearly reached the bottom of a twenty- Inside dollars produced by UCSD. In many re- year decline in allocations for public spects, we would be better off if UCOP Budget Changes. .3 universities, reflecting a national trend. would just let us keep the funds we earn, After each plunge in our support, Sac- Discovery of America. 4 especially student fees and indirect cost ramento has failed to restore previous recovery, to deploy for our own priorities In Case You Missed It. 4 levels. Even when the state’s economy and projects. recovers, its government could remain Franz Liszt. 5 In the absence of salvation from dysfunctional and burdened with defi- above, UCSD must emphasize three Anecdotage . .7 cits. Even if the state replenishes its strategies to preserve and enhance the coffers, politicians, voters, and taxpay- Mark Your Calendar . 8 sterling academic foundation that has ers may well rank other priorities, such Continued on p.2 ➝ UCSD Emeriti Association Page 2 December 2010 v Chronicles made it a world-class institution. Hir- most significant source of new income allocate the reductions selectively with ing and nurturing fabulous research for Academic Affairs. Rather than being the goal of sustaining the academic core faculty has been the origin, engine, and distributed by UCOP, incremental NRS and its highest-quality components. As trademark of this upstart institution. A monies belong to the campus. Without much as possible, the campus should relentless emphasis on rigorous stan- those funds, we could not have resur- prune non-essential, non-academic ser- dards for the quality of the faculty and rected faculty recruitments on the general vices first. Thereafter, the faculty, de- their programs has propelled us upwards campus this year. We had to return to the partments, programs, and deans must in the rankings of research universities. academic marketplace in order to begin continue to streamline their operations, The star faculty members attract the stu- replacing the scores of precious positions eliminate redundancies, and make tough dents and the grants, the fame and the lost to budget cuts during the regrettable decisions about which specialties to cul- fortune. They drive the university from but mandatory freeze on hiring the year tivate for the future. For example, we the bottom up. They are our best invest- before. can further jettison excess regulations ment in the future. To continue this as- Within reasonable limits, augment- and administrators, consolidate staff and cent requires that we concentrate our ing the ranks of non-resident students at IT among departments, programs, and dwindling dollars on that academic core. UCSD should not provoke an unbear- ORUs, weed out unnecessary courses To achieve that objective, the sec- able political backlash. NRS currently and majors, reduce exaggerated require- ond lesson I learned is that UCSD account for less than 10% of our un- ments for majors and degrees, employ should stop whittling away at the aca- dergraduates, compared to over 20% at more online instructional mechanisms, demic core and instead focus on obtain- Berkeley and 35% at places like Michigan and achieve other efficiencies, without ing underutilized resources. The campus and Wisconsin. They are being brought damaging our most essential educational must mobilize every effort to garner more in on top of our funded California under- offerings. revenues from outside sources to support graduates, whose education will benefit At the same time, we must make the academic core, including the Gen- from the higher tuition and distinctive very hard choices about what types of eral Campus (GC), the Health Sciences perspectives provided by students from faculty, research, and teaching to em- (SOM), and the Marine Sciences (SIO). other states and countries. These NRS phasize in the coming years. We must Many of our peers, such as Michigan and dollars can also help finance efforts to not only build on strength but also foster Virginia, are far ahead of us in develop- diversify the faculty and student body. innovation. We can be the best in many ing alternative sources to the state trea- Just before the end of my tenure as things, but not everything. In large part, sury. We should amplify our intake from SVCAA, I forged an agreement with the UCSD became an academic powerhouse non-resident student tuition and fees, Chancellor to guarantee 68% of all ad- by promoting certain niches and com- high-fee Masters programs, indirect cost ditional NRS revenues to Academic Af- parative advantages, as well as gambling recovery, non-state forms of faculty com- fairs. That is where those dollars should on bold ventures. Now we can re-invent pensation (similar to the system in the go because their purpose is to fund the the UCSD of Tomorrow with that same Health Sciences), auxiliaries, tech trans- students’ education. In the years ahead, entrepreneurial and individualistic ap- fer, partnerships with the private sector, the biggest challenge will be to recruit proach. and philanthropy. more non-resident students to UCSD Fourth, UCSD should improve its All of these complex and controver- (and our national ranking as the top uni- budgeting process. It must make its bud- sial revenue-generating proposals will versity for surfing may help). geting tradeoffs in a more transparent require careful planning, discussion, and Third, until we overcome the cur- way so that the faculty can weigh in, espe- implementation between Academic Af- rent crunch of austerity, UCSD must cially in hard times when every financial fairs and the Academic Senate. UCSD carry out the remaining painful budget choice is a zero-sum game. In addition, must make sure that these endeavors cuts in a very targeted manner. We must UCSD should adopt an Executive Vice contribute to the quality of the academ- Chancellor for Academic Affairs (EVC)/ ic core. We must also insure that they Provost model like all the other UC cam- benefit all departments, not just those Emeriti Website puses and most major research universi- most capable of tapping non-state dol- The UCSD Emeriti Association ties. Having all the non-academic Vice lars. However, we must take action with maintains a website: Chancellors report to that official would all deliberate speed to bring a halt to the http://emeriti.ucsd.edu establish the primacy of the faculty and hemorrhaging. Clicking the News, Programs & their research and teaching programs in Thankfully, we have already reached meetiNgs button will allow you to all budgetary planning, deliberations, and view past issues of this newsletter. agreement with the Academic Senate on The website also provides the con- decisions. the urgent need to expand the enroll- stitution and by-laws, lists of mem- With an effective EVC structure, all ment of non-resident graduate and espe- bers, and minutes of meetings. ancillary programs would have to justify cially undergraduate students (NRS), the their expenditures based on their crucial UCSD Emeriti Association The Discovery of America Chronicles v December 2010 Page 3 contributions to the academic enterprise. All the non-academic Vice Chancellor Executive Committee Adopts areas perform vital functions, but every option for savings needs to be up for Budget Changes for 2010/2011 consideration in order to safeguard the academic heart of the university. One non-academic operation that should be The Emeriti Association’s budget for 2010/2011, approved by the Executive bostered is fundraising for academic pur- Committee on July 14th, 2010, contains several changes that will impact the poses through External Relations.
Recommended publications
  • A Performer's Analysis of Liszt's Sonetto 47 Del Petrarca
    A PERFORMER’S ANALYSIS OF LISZT’S SONETTO 47 DEL PETRARCA A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF MUSIC IN PIANO PERFORMANCE AND PEDAGOGY BY SHUANG CHEN DR. LORI RHODEN - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2013 Liszt was born in the part of western Hungary that became known today as the Burgenland. As one of the leaders of the Romantic movement in music, Liszt developed new methods of piano performance and composition; he anticipated the ideas/procedures of music in the 20th century. He also promoted the method of thematic transformation as part of his revolution in form, made radical experiments in harmony, and invented the symphonic poem for orchestra. He was a composer, teacher and most importantly, a highly accomplished pianist. As one of the greatest piano virtuosos of his time, he had excellent technique and a dazzling performance ability that gained him fame and enabled the spreading of the knowledge of other composers’ music. He was also committed to preserving and promoting the best music from the past, including Bach, Handel, Schubert, Weber and Beethoven. Liszt had a strong religious background, which was contradictory to his love for worldly sensationalism. It is fair, however, to say that he was a great man who had a positive influence on people around him. From the 1830-1840’s, Liszt developed a new vocabulary for technique and musical expression in the piano world. He was able to do so partly because of the advances in the mechanical construction of the instrument.
    [Show full text]
  • A Structural Analysis of the Relationship Between Programme, Harmony and Form in the Symphonic Poems of Franz Liszt Keith Thomas Johns University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt Keith Thomas Johns University of Wollongong Recommended Citation Johns, Keith Thomas, A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt, Doctor of Philosophy thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/1927 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] A STRUCTURAL ANALYSIS OF THE RELATIONSHIP BETWEEN PROGRAMME, HARMONY AND FORM IN THE SYMPHONIC POEMS OF FRANZ LISZT. A thesis submitted in fulfilment of the requirements for the award of the degree of DOCTOR OF PHILOSOPHY from THE UNIVERSITY OF WOLLONGONG by KEITH THOMAS JOHNS (M.Litt.,B.A.Hons.,Grad.Dip.Ed., F.L.C.M., F.T.C.L., L.T.C.L. ) SCHOOL OF CREATIVE ARTS 1986 i ABSTRACT This thesis examines the central concern in an analysis of the symphonic poems of Franz Liszt, that is, the relationship between programme,harmony and form. In order to make a thorough and clear analysis of this relationship a structural/semiotic analysis has been developed as the analysis of best fit. Historically it has been fashionable to see Liszt's symphonic poems in terms of sonata form or a form only making sense in terms of the attached programme. Both of these ideas are critically examined in this analysis.
    [Show full text]
  • Riccardo Muti Conductor Michele Campanella Piano Eric Cutler Tenor Men of the Chicago Symphony Chorus Duain Wolfe Director Wagne
    Program ONE huNdrEd TwENTy-FirST SEASON Chicago Symphony orchestra riccardo muti Music director Pierre Boulez helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Friday, September 30, 2011, at 8:00 Saturday, October 1, 2011, at 8:00 Tuesday, October 4, 2011, at 7:30 riccardo muti conductor michele Campanella piano Eric Cutler tenor men of the Chicago Symphony Chorus Duain Wolfe director Wagner Huldigungsmarsch Liszt Piano Concerto No. 1 in E-flat Major Allegro maestoso Quasi adagio— Allegretto vivace— Allegro marziale animato MiChElE CampanellA IntErmISSIon Liszt A Faust Symphony Faust: lento assai—Allegro impetuoso Gretchen: Andante soave Mephistopheles: Allegro vivace, ironico EriC CuTlEr MEN OF ThE Chicago SyMPhONy ChOruS This concert series is generously made possible by Mr. & Mrs. Dietrich M. Gross. The Chicago Symphony Orchestra thanks Mr. & Mrs. John Giura for their leadership support in partially sponsoring Friday evening’s performance. CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PhilliP huSChEr ne hundred years ago, the Chicago Symphony paid tribute Oto the centenary of the birth of Franz Liszt with the pro- gram of music Riccardo Muti conducts this week to honor the bicentennial of the composer’s birth. Today, Liszt’s stature in the music world seems diminished—his music is not all that regularly performed, aside from a few works, such as the B minor piano sonata, that have never gone out of favor; and he is more a name in the history books than an indispensable part of our concert life.
    [Show full text]
  • 014-Liszt-Symphonic-Poems-For-Two
    DDD Absolutely Digital CDR 90000 014 W O R L D P R E M I E R E R E C O R D I N G THE SYMPHONIC POEMS FOR ORCHESTRA OF FRANZ LISZT AS TRANSCRIBED FOR TWO PIANOS BY THE COMPOSER 1 Ce qu’on entend sur la montagne (27:35) 2 Tasso, Lamento e Trionfo (15:35) 3 Les Préludes (16:00) 4 Orpheus (10:00) Georgia & Louise Mangos, duo-pianists TT: (69:00) Recorded January 22 & 23, 1993 in Lund Auditorium, Rosary College, River Forest, Illinois Producer: James Ginsburg Engineer: Bill Maylone Pianos: Kawai EX, Artisan Select Concert Grands furnished courtesy of Kawai America Corp. Graphic Design: Cheryl A Boncuore Front Cover: “Two Pianos” glass block impression by Erik S. Lieber & © 1993 Cedille Records Printed in USA by Thiessen Printing Corporation Liszt’s Piano as Orchestra Keith T. Johns Central to an examination of Liszt’s aesthetic was his ability to make the piano sound like an orchestra. One of the earliest accounts of this exceptional ability appeared in The Scotsman (Edinburgh) discussing a performance of Liszt’s second piano concerto on January 21, 1841: He seems to tear the very soul out of the instrument — he calls into requisition every sound and combination of sounds of which it is capable — to work it up as it were till it produces all the effects of the orchestra. Liszt’s transcendence from piano virtuoso to composer of “serious” orchestral music sparked controversy among nineteenth century critics debating Zukunftsmusik (the music of the future). Such writers questioned how Liszt could synthesize what they considered two distinct compositional directions: that for orchestra, and that for piano.
    [Show full text]
  • Hungarian Studies
    HStud 26 (2012)1, 123–140 DOI: 10.1556/HStud.26.2012.1.10 THE LITERARY CANON OF FERENC LISZT MIHÁLY SZEGEDY-MASZÁK Eötvös Loránd University Budapest, Hungary Perhaps best known as a peerless virtuoso in his day and a composer the significance of whose contributions to the Western tradition was only appreciated in the latter half of the 20th century, Ferenc Liszt was also among the most ambitious composers of the 19th century in his exposure to works of literature and his interest in the inter- actions of literature and music. The following article examines the interrelation- ships between his music and the works of literature he chose as inspirations and in some cases as texts to be put to music. Keywords: Liszt, synesthesia, interarts, Weltliteratur, tonal innovation, canon “die Musik kann nie und in keiner Verbindung, die sie eingeht, aufhören die höchste, die erlösende Kunst zu sein” (Wagner 1888, 191) At the outset I would like to make two reservations. I am a lover of music, but not a musician. A literary scholar is not qualified to comment on music, so I will restrict my observations to the texts used by the composer. My other preliminary remark is more personal. In full agreement with Alan Walker’s statement that “the case concerning Wagner’s ‘ingratitude’ may have been overstated by the Lisztians” (Walker, 1997, 353), I do not wish to make any comparison between Liszt and Wagner. The harmonic experimentation of Liszt is well-known, although some experts caution against exaggerations. The author of a recent study on the late pi- ano works, for instance, makes the following statement about the 4.
    [Show full text]
  • A Faust Symphony
    “Inside Masterworks” LISTENING IN COLOR MARCH 2017 Masterworks #6: A Faust Symphony March 10-12, 2017 Question: Who was the first musical superstar whose radiating sensuality prompted masses of adoring female fans to hurl their clothing onto the stage? Answer: Franz Liszt! Franz Liszt is best known as a composer, but in his In 1844, the German poet Heinrich Heine dubbed lifetime, Liszt was truly the first “rock star” capable of this extraordinary phenomenon “Lisztomania.”v filling a hall to capacity without benefit of an orchestra. Women forcibly attempted to obtain cuttings from As a child, Liszt achieved fame as a prodigy; as an his clothing or his hair; broken strings from the adult, he was the first pianist to take center stage pianos he played were made into bracelets and the for an entire evening, in a solo performance to an dregs of his tea were emptied into scent bottles.vi He enraptured audience, whose fan worship was unlike was too popular to go out on foot, and his passport, anything the world had known.i in lieu of a physical description, merely said, “Celebritate sua sat notus”: sufficiently well-known Long before Elvis Presley or the Beatles inspired through celebrity.vii screaming teenagers in concerts, Liszt generated “star mania,” causing adoring female fans to keep his During his concert career, he was the most highly- discarded cigar butts nestled in their cleavage,ii or fight paid artist of his day and was the first pianist able for possession of his gloves, “carelessly” left on a piano to support himself on his earnings as a performer.
    [Show full text]
  • Franz Liszt's Vallee D'obermann from the Annees De Pelerinage
    Franz Liszt’s Vallée d’Obermann from the Années de Pèlerinage, Première Année, Suisse: A Poetic Performance Guide A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music 2013 by Bora Lee MM, University of Cincinnati, 2003 BM, Yonsei University, 2001 Committee Chair: Jonathan Kregor, Ph.D. Abstract An informed performance of the music of Franz Liszt often requires biographical study and knowledge of numerous literary references. Composed primarily during his exile from Paris with Countess Marie d’Agoult, the keyboard work Vallée d’Obermann from the Années de Pèlerinage, Première Année, Suisse captures the despondence and hope in two Romantic sources: the French novel Obermann (1804) by Étienne Pivert de Sénancour and the English poem Childe Harold’s Pilgrimage (1812) by Lord Byron. But the score also reflects the young musician’s unease over his career, reputation, and future. This document will address the highly personal nature of Vallée d’Obermann and investigate musical narratives that will benefit enterprising pianists for more poetically nuanced rendition. The first chapter will discuss the compositional and literary background of Vallée d’Obermann, delving into the works by Sénancour and Byron and touching upon events in Liszt’s life. The second chapter will present the rhetorical devices in Vallée d’Obermann that create unique music-poetic relationships. The final chapter is a performance guide to Vallée d’Obermann for pianists who wish not only to execute the technical obstacles of the score, but to project the work’s literary and autobiographical aspects.
    [Show full text]
  • Baroque Transformations and Altered States in the Music of Franz Liszt
    Baroque Transformations and Altered States in the Music of Franz Liszt DaviD Gariff above Jean-Jacques Feuchère, Dante Meditating on the “Divine Comedy”, 1843, pen and brown ink with brown wash and watercolor over graphite, heightened with white gouache, National Gallery of Art, Gift of the Christian Humann Foundation cover Giulio Cesare Procaccini, The Ecstasy of the Magdalen, 1616 / 1620, oil on canvas, National Gallery of Art, Patrons’ Permanent Fund national Gallery of art Trasumanar significar per verba non si poria (To go beyond the human is not possible in words) Dante, Paradiso, i, 70-1 Music embodies feeling without forcing it to contend and combine with thought . Franz Liszt For the nineteenth-century Romantic, feeling was everything. The desire to explore and to understand the subjective experience was paramount to the painter, poet, composer, and novelist. These sub- jective states took many forms: dreams, ecstasy, inspiration, but also darker moods such as delirium, melancholy, grief, and a penchant for the morbid and the grotesque. The greatest triumph for the Romantic artist was to awaken emotions in the viewer, reader, or listener. The concepts of transformation and transfiguration reside at the heart of such thinking, what today might be called “altered states.” Franz Liszt (1811 – 1886) was a composer committed to feel- ing. His inspirations included Beethoven, Byron, Dante, Goethe, and Shakespeare. He shared this attitude with his contemporaries Chopin, Schumann, and, most especially, Hector Berlioz. As a prominent figure in the progressive New German School in Weimar, Liszt also recognized this trait in the music of Richard Wagner (1813 – 1883).
    [Show full text]
  • Franz Liszt Sardanapalo Mazeppa
    FRANZ LISZT SARDANAPALO MAZEPPA Joyce El-Khoury Airam Hernández Oleksandr Pushniak Kirill Karabits Staatskapelle Weimar FRANZ LISZT MAZEPPA 15:32 Symphonic Poem No. 6, S. 100 SARDANAPALO Act I, Scenes 1-4, S. 687 (unfinished opera), edited and orchestrated by David Trippett Scene I Preludio 1:55 ‘Vieni! Risplendono festive faci’ (Chor) 3:43 ‘Oh del tetto paterno’ (Mirra) 1:56 ‘L’altera Ninive a te s’inchina’ (Chor) 4:23 Scene II ‘Più lunga cura’ (Mirra) 3:00 ‘Giù pel piano’ (Mirra) 1:42 ‘Sogno vano’ (Mirra) 3:07 ‘Ahi! Nell’ansio rapimento’ (Mirra) 3:01 Scene III ‘Nella tua stanza’ (Sard. / Mirra) 1:47 Joyce El-Khoury, Mirra ‘Parla! Parla!’ (Sard. / Mirra) 2:51 Airam Hernández, Sardanapalo ‘Sotto il tuo sguardo’ (Sard. / Mirra) 6:26 Oleksandr Pushniak, Beleso Scene IV Opera Chorus ‘Mentre a tuo danno’ (Beleso) 4:42 Nationaltheater Weimar ‘Se sol l’armi’ (Sardanapalo) 2:07 Staatskapelle Weimar ‘Oh perché, perché quel core’ (Mirra / Bel.) 2:32 Kirill Karabits ‘Che far pensi?’ (Sard. / Mirra / Bel.) 2:43 ‘Diletta vergine’ (Sard. / Mirra / Bel.) 2:20 Allegro deciso 3:02 Liszt and opera ‘I have simply asked for my turn at the Opéra and nothing but that.’1 We tend not to take Liszt’s brief career as an opera composer seriously today. But during the 1840s, before drafting any of his symphonic poems, Liszt’s strategic ambition was precisely to become a composer of opera. ‘Within three years I’ll end my career in Vienna and in Pest, where I began it.’ – he told the exiled Italian Princess Cristina Belgiojoso in 1841 – ‘But before then, during the winter of 1843, I want to première an opera in Venice (Le Corsaire after Lord Byron).’2 This would be, he explained privately, a means of pivoting away from life as a prodigiously successful touring virtuoso and attaining status as a serious professional composer, alongside Rossini, Meyerbeer and the young Wagner.
    [Show full text]
  • Download Booklet
    ARTIST’S INTRODUCTION My relationship with Liszt started with the FRANZ LISZT (1811-1886) composer’s obvious piano-centric and romantic Franz Liszt is a composer whom I have always repertoire. It then deepened immensely as a found intriguing, fascinating and puzzling. Much challenge. I was one of Lazar Berman’s first has been speculated about Liszt. He was the female students. Berman was regarded as 19th century equivalent of a rock-star, at home his generation’s ultimate Liszt interpreter and 1 Toccata, S. 197a [1.16] on the piano as well as in all social circles. was quick to judge that a diminutive lady with He was the first real touring Pan-European hands spanning a 9th (although I can now 2 Unstern! Sinistre, disastro, S. 208 [4.55] artist, leading multiple lives at once, and yet stretch a 10th on a good day) would ever 3 Wiegenlied (Chant du berceau), S. 198 [3.15] finding the time to write so much music. succeed in playing Liszt well. By the time I 4 Bagatelle sans tonalité, S. 216a [2.47] made my debut in Budapest at the Great Hall Most of Liszt’ music has universal appeal. One of the Liszt Academy, performing Liszt’ First 5 Abschied, russisches Volkslied, S. 251 [2.23] can find copious connections to the past as Piano Concerto, I had won awards for my 6 Resignazione (Ergebung), S. 263/187a [1.23] well as a new individual voice developed from performances of the B minor Sonata and his reportedly stunning pianistic skills, but graduated from the Hochschule “Franz Liszt” in 7 Schlaflos! Frage und Antwort, S.
    [Show full text]
  • THE EVOLUTION of WHOLE-TONE SOUND in LISZT's ORIGINAL PIANO WORKS. the Louisiana State University and Agricultural and Mechanical College, Ph.D., 1974 Music
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1974 The volutE ion of Whole-Tone Sound in Liszt's Original Piano Works. Harold Adams Thompson Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Thompson, Harold Adams, "The vE olution of Whole-Tone Sound in Liszt's Original Piano Works." (1974). LSU Historical Dissertations and Theses. 2767. https://digitalcommons.lsu.edu/gradschool_disstheses/2767 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image.
    [Show full text]
  • Franz Liszt's Songs on Poems by Victor Hugo Shin-Young Park
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Franz Liszt's Songs on Poems by Victor Hugo Shin-Young Park Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC FRANZ LISZT’S SONGS ON POEMS BY VICTOR HUGO By SHIN-YOUNG PARK A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2007 The members of the Committee approve the Treatise of Shin-Young Park defended on May 10, 2007. _______________________ Carolyn Bridger Professor Directing Treatise _______________________ Jane Piper Clendinning Outside Committee Member _______________________ Timothy Hoekman Committee Member _______________________ Valerie Trujillo Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS First of all, I would like to express appreciation to my adviser, Dr. Carolyn Bridger, who led me with tireless encouragement to finish my doctoral degree. During my studies at the Florida State University, she was not only an excellent piano professor but also a generous guardian to me. I truly appreciate all that she has done for me. I also owe much to my committee members, Dr. Timothy Hoekman, Professor Valerie Trujillo, and Dr. Jane Piper Clendinning, especially for their flexibility during the final steps of my treatise. Dr. Hoekman helped me with splendid ideas on voice accompanying recitals and taught me the art of vocal coaching. I will never forget his passionate efforts.
    [Show full text]