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Schenker's First “Americanization”: George Wedge, the Institute of Musical Art, And
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 4 Issue 1 Article 7 January 2011 Schenker’s First “Americanization”: George Wedge, the Institute of Musical Art, and the “Appreciation Racket” David Carson Berry [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Berry, David Carson (2011) "Schenker’s First “Americanization”: George Wedge, the Institute of Musical Art, and the “Appreciation Racket”," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 4 : Iss. 1 , Article 7. Available at: https://trace.tennessee.edu/gamut/vol4/iss1/7 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part III), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. SCHENKER’S FIRST “AMERICANIZATION”: GEORGE WEDGE, THE INSTITUTE OF MUSICAL ART, AND THE “APPRECIATION RACKET” DAVID CARSON BERRY quarter of a century ago, William Rothstein first employed a now common phrase when A he spoke of the “Americanization of Schenker”—that is, the accommodation that had to be made to bring Schenker’s ideas into the American academy, a process that involved ex- punging (or at least reconstituting) “those elements of Schenker’s thought [that clashed] most spectacularly with the American mind.”1 Rothstein focused mainly on émigrés displaced by the Second World War (e.g., Oswald Jonas, Ernst Oster, and Felix Salzer), and on Americans a generation younger (e.g., Milton Babbitt and Allen Forte). -
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, -fo Oc Cs>fiifr[tfTk<l- — Lof <r - : OXAK" — *5h(VF 6&i-f[/N3 uUPcflUY- J[« (JobL 3 %OAArLdc Mk/J /\ifaxir\Q fU> fbbxJ JUtkLsMc •» • 3 • \HxKxapai tfom pxrz. 5(o '<3>^ 55 5\ 5o (o-3-&\ fa tlJt Brot&* {) 5-22- 45 . c^ J .^^"io^U; 1&uuu^ajp<& CM-M^cyL5ta^ l i /cto^TLT. 6LO^ h&cQtyOte 51 . a -t 15* 35 <?4 u S3 •52. U -CjLl€hj01&-- Iv3l ^tcL?U J^UMj^tO^ zi ^ _.Ei-ciw_p4#_ QoU_. GIMJX ^c^co6 &cJ._^st. Z3 C^dLG— Cr?. fihfoJ^dtf'Gsi 2.2, ^ (jo Z( 2O Q 16 w 17 i ^ 15 4-2-5? <fl 13 II -uSj-f <n. fads - Ste&ttelL TcujrNztrtLti-. .. IP.. of q ..s. - past _ i A 1-13- Q od. .c?_ ttCJL 3 a 2 (-15-59 u % 7 i* DEPARTMEN O F PA R K S ARSENAL, CENTRAL PARK REGENT 4-1000 FOR RELEASE THURSDAY, DECEMBER 24, 1959 l-l-l-60M-707199(58) 114 The Department of Parks announces that a •baby- female hippopotamus weighing approximately 70 lbs. was born on November 24, 1959, at the Prospect Park &oo in Brooklyn. The mother, Betsy, now 9 years old, arrived at the Prospect Park &oo on September 8, 1953, and the sire, "Dodger", was 3 years old v/hen he arrived in 1951. However, "Dodger" passed away on October 8, 1959, and will not be around to hand out cigars. The new offspring has been named "'Annie". N.B. s Press photographs may be taken at tine* 12/23/59 DEPARTMEN O F PA R K S ARSENAL, CENTRAL PARK REGENT 4-1000 FOR RELEASE SUHDAY, D5CBMHBR 20, 1959 M-l-60M-529Q72(59) 114 The Borough President of Richmond and the Department of Parks announce the award of contracts, in the amount of $2,479,487, for the second stage of construction of the South Beach improvement in Staten Islitnd. -
Music for the Microphone: Network Broadcasts and the Creation of American Compositions in the Golden Age of Radio Akihiro Taniguchi
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Music for the Microphone: Network Broadcasts and the Creation of American Compositions in the Golden Age of Radio Akihiro Taniguchi Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC Music for the Microphone: Network Broadcasts and the Creation of American Compositions in the Golden Age of Radio By AKIHIRO TANIGUCHI A Dissertation submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2003 Copyright ©2003 Akihiro Taniguchi All Rights Reserved The members of the Committee approve the dissertation of Akihiro Taniguchi defended on 15 May 2003. ______________________________ Charles E. Brewer Professor Directing Dissertation ______________________________ Jane Piper Clendinning Outside Committee Member ______________________________ Denise Von Glahn Committee Member ______________________________ Michael B. Bakan Committee Member Approved: ________________________________________________________ Jon Piersol, Dean, School of Music The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables ........................................................................................................................ v List of Music Examples........................................................................................................ -
William Schuman's Literature and Materials Approach: a Historical Precedent for Comprehensive Musicianship
WILLIAM SCHUMAN'S LITERATURE AND MATERIALS APPROACH: A HISTORICAL PRECEDENT FOR COMPREHENSIVE MUSICIANSHIP By JONATHAN STEELE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1988 ^p p LIBRARIES Copyright 1988 by Jonathan Edward Steele ACKNOWLEDGMENTS I would like to express my gratitude for the guidance and encouragement given by my major professor, Dr. John White, throughout my program of study at the University of Florida and particularly during the writing of this dissertation. I am also grateful for the helpful and precise assistance provided by my committee members in their review of my work. Their many hours of work are greatly appreciated. I owe a debt of gratitude to Clearwater Christian College for the substantial assistance and encouragement given to me in my doctoral studies. Most of all, I am thankful for my wife, Bea. Without her unending love, patience, and support, I would not have finished this task. iii TABLE OF CONTENTS page ABSTRACT vi CHAPTER ONE - INTRODUCTION 1 Statement of the Problem 1 Objectives 5 Background 6 The Juilliard School 6 The Literature and Materials Approach .... 8 History of the Comprehensive Musicianship Approach 11 The Young Composers Project . 11 The Contemporary Music Project and Comprehensive Musicianship 17 Background on William Schuman 22 Biography 22 Philosophy 38 Musical Output 41 CHAPTER TWO - REVIEW OF THE LITERATURE 45 Scholarly Research 46 Bibliographies 47 Periodical Literature 48 Biographies 52 CHAPTER THREE - METHODOLOGY 54 Preliminary Study 54 Interview With William Schuman 54 Interview With Michael White 56 Interview Protocol 58 Other Interviews 59 Follow-up Study 60 iv CHAPTER FOUR - COMPARISON OF APPROACHES 61 The Literature and Materials Approach (L and M) . -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor Saxophone Musical Vocabulary
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. GEORGE AVAKIAN NEA JAZZ MASTER (2010) Interviewee: George Avakian (March 15, 1919 – November 22, 2017) Interviewer: Ann Sneed with recording engineer Julie Burstein Date: September 28, 1993 Repository: Archives Center, National Museum of American History Description: Transcript, 112 pp. Sneed: I’m Ann Sneed. We are in Riverdale. We’re interviewing George Avakian. There’s so many things to say about you, I’m just going to say George Avakian and ask you first, why jazz? Avakian: I think it happened because I was born abroad, and among the things that came into my consciousness as I was growing up was American popular music, and then it drifted in the direction of jazz through popular dance bands, such as the Casa Loma Orchestra, which I heard about through the guys who were hanging around the home of our neighbor at Greenwood Lake, which is where we went in the summers. We had a house on the lake. Our next-door neighbors had two daughters, one of whom was my age and very pretty, Dorothy Caulfield, who incidentally is responsible for Holden Caulfield’s last name, because J. D. Salinger got to know her and was very fond of her, named Holden after her family name. These boys came from the Teaneck area of New Jersey. So it was a short drive to Greenwood Lake on a straight line between New York and New Jersey. They had a dance band, the usual nine pieces: three brass, three saxophones, three rhythm. -
LIVE from LINCOLN CENTER April 3, 2006, 8:00 P.M. on PBS the Juilliard School Celebrating 100 Years
LIVE FROM LINCOLN CENTER April 3, 2006, 8:00 p.m. on PBS The Juilliard School Celebrating 100 Years New York's Juilliard School is one of the most illustrious institutions in the world of the performing arts. This year the School is observing its 100th anniversary. To celebrate the occasion a gala event has been planned for Monday evening, April 3. Participants will include some of Juilliard's most illustrious alumni, including Emanuel Ax, Kevin Kline, Renee Fleming, Wynton Marsalis, Itzhak Perlman and John Williams. We of Live From Lincoln Center are proud that our cameras and microphones will be present to bring all the exciting festivities directly into your homes. Some history is called for. Already by the latter third of the 19th century the United States could boast of a number of dedicated schools of music. The Oberlin Conservatory in Oberlin, Ohio was founded in 1865. Two years later came Boston's New England Conservatory of Music and the Cincinnati Conservatory, followed the next year by the Peabody Conservatory in Baltimore. In the later 1880's a wealthy patron of music, Jeanette Thurber, founded the short-lived National Conservatory of Music in New York and succeeded in the early 1890's in attracting no less a figure than Antonin Dvorak as its Director. Then in 1905 a new and ambitious music school was founded in New York. Called the Institute of Musical Art, it was the inspiration of Dr. Frank Damrosch, godson of Franz Liszt and the head of music education in the New York City school system. -
Untitled, It Is Impossible to Know
VICTOR HERBERT ................. 16820$ $$FM 04-14-08 14:34:09 PS PAGE i ................. 16820$ $$FM 04-14-08 14:34:09 PS PAGE ii VICTOR HERBERT A Theatrical Life C:>A<DJA9 C:>A<DJA9 ;DG9=6BJC>K:GH>INEG:HH New York ................. 16820$ $$FM 04-14-08 14:34:10 PS PAGE iii Copyright ᭧ 2008 Neil Gould All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. Library of Congress Cataloging-in-Publication Data Gould, Neil, 1943– Victor Herbert : a theatrical life / Neil Gould.—1st ed. p. cm. Includes bibliographical references (p. ) and index. ISBN-13: 978-0-8232-2871-3 (cloth) 1. Herbert, Victor, 1859–1924. 2. Composers—United States—Biography. I. Title. ML410.H52G68 2008 780.92—dc22 [B] 2008003059 Printed in the United States of America First edition Quotation from H. L. Mencken reprinted by permission of the Enoch Pratt Free Library, Baltimore, Maryland, in accordance with the terms of Mr. Mencken’s bequest. Quotations from ‘‘Yesterthoughts,’’ the reminiscences of Frederick Stahlberg, by kind permission of the Trustees of Yale University. Quotations from Victor Herbert—Lee and J.J. Shubert correspondence, courtesy of Shubert Archive, N.Y. ................. 16820$ $$FM 04-14-08 14:34:10 PS PAGE iv ‘‘Crazy’’ John Baldwin, Teacher, Mentor, Friend Herbert P. Jacoby, Esq., Almus pater ................. 16820$ $$FM 04-14-08 14:34:10 PS PAGE v ................ -
Abbreviations
A b b r e v i a t i o n s ACASC Amherst College Archives and Special Collections COCSC College of Charleston Special Collections (Addlestone Library, Charleston, SC) CUAC Columbia University Archives CUOHR Columbia University Oral History Research Office CURBM Columbia University Rare Book and Manuscript Library (Butler Library, New York, NY) IUMD Indiana University Manuscripts Department (Lilly Library, Bloomington, IN) JCA Juilliard College Archives LOCMD Library of Congress Manuscript Division LOCRS Library of Congress Recorded Sound Reference Center NLALAP Newberry Library Adeline Lobdell Atwater Papers (Chicago, IL) UPRBML University of Pennsylvania Annenberg Rare Book and Manuscript Library N o t e s Introduction 1 . Lloyd Morris, A Threshold in the Sun (New York: Harper and Brothers, 1943), 89–90. Also see Jerry E. Patterson, Fifth Avenue: The Best Address. (New York: Rizzoli International, 1998); and Francis Steegmuller, “Oldest Hotels,” The New Yorker, September 22, 1934, 18. 2 . Quoted in Oscar James Campbell, “The Department of English and Comparative Literature,” in The Faculty of Philosophy , ed. D. C. Miner (New York: Columbia University Press, 1957), 79. 3 . Morris, A Threshold in the Sun and John Erskine, The Memory of Certain Persons (Philadelphia, PA: J.P. Lippincott, 1947), 356. 4 . Quoted in Helen Huntington Smith, “Professor’s Progress,” The New Yorker , December 27, 1927, 28. 5 . Morris, A Threshold in the Sun , 90. 6 . Ibid. 7 . John Carter, “The Wit and Wisdom of Helen of Troy,” New York Times , November 9, 1925, 15. 8 . D. Laurance Chambers. Typescript memo to files, January 4, 1926. The Bobbs-Merrill Manuscript Collection (hereafter referred to as Bobbs-Merrill MSS), Box 48, IUMD. -
ARTIST HISTORY for the PEOPLES' SYMPHONY CONCERTS
ARTIST HISTORY for the PEOPLES’ SYMPHONY CONCERTS 2019-2020 Season Garrick Ohlsson, piano Juilliard String Quartet Shai Wosner, piano and Jennifer Koh, violin Paul Huang, violin & Helen Huang, Piano Musicians from Marlboro Vadym Kholodenko, piano Anthony Marwood, violin Calidore String Quartet Dover String Quartet Chamber Music Society of Lincoln Center Juilliard String Quartet Rosamunde String Quartet Pamela Frank Quintet Augustin Hadelich, violin & Orion Weiss, piano Quatuor Danel Benjamin Grosvenor, piano Yefim Bronfman, piano Camille Thomas, cello & Julien Brocal, piano Alexander Melnikov, piano Kalichstein-Laredo-Robinson Trio Richard Stoltzman, clarinet Cancelled or Postponed due to Pandemic Augustin Hadelich, violin Denes Varjon, piano Kalichstein-Laredo-Robinson Trio Junction Trio Paul Lewis, piano Vladimir Feltsman, piano Calefax Reed Quintet Dover Quartet & Shai Wosner, piano Marc-Andre Hamelin, piano 2015-2016 Season Mark Padmore, tenor & Ethan Iverson, piano Dover String Quartet with Paul Watkins, cello Zoltan Fejervari, piano 2018-2019 Season Joseph Kalichstein, piano Dover Quartet Itamar Zorman, violin Jonathan Biss, piano Juilliard String Quartet Paul Lewis, piano Richard Goode, piano Quatuor Danel Marc-Andre Hamelin, piano Russian Renaissance Behzod Abduraimov, piano Richard Stoltzman, clarinet/David Deveau, piano/Sarah Shafer, soprano Laredo-Robinson Duo Argus String Quartet Signum String Quartet Chamber Music Society of Lincoln Center Artemis String Quartet Itamar Zorman, piano ECCO Juilliard String Quartet Ariel String -
Morton Gould Interviewed by Ellen Taaffe Zwilich at Carnegie Hall on November 10, 1995
Library of Congress (Music Division) Morton Gould interviewed by Ellen Taaffe Zwilich at Carnegie Hall on November 10, 1995. Transcript of recorded interview: Morton Gould interviewed by Ellen Taaffe Zwilich at Carnegie Hall on November 10, 1995. From the Library of Congress in Washington, DC Morton Gould: . stuff I brought you is more than you, you're gonna use, but I thought you were going to have, you know enough to choose from . Ellen Taaffe Zwilich: Oh, it's fantastic stuff; I'm just sorry you didn't bring that costume. MG: I couldn't get it; that was Steinway's, oh, [laughs] I told you I'd wear it. ETZ: His mother made him a costume when he was . MG: When I was a prodigy. ETZ: . when he was I think six years old, and it was a little satin blouse, with a ruffle, and little black satin pants with three little pearl buttons on each leg. Off-camera female voice: And you didn't wear it today? MG: Ah! It was, well, it was too warm. Uh, my peers might, I grew up in a very tough neighborhood . Morton Gould interviewed by Ellen Taaffe Zwilich at Carnegie Hall on November 10, 1995. : http://www.loc.gov/item/ihas.200217613 Library of Congress (Music Division) ETZ: Oh my god. MG: . this picture would be, I was in the papers in this, this Lord Fauntleroy suit. They would wait for me after class. They'd say, "Is that you?" I'd say, "Yes," and they'd beat the hell out of me. -
The New York Chamber Music Society, 1915-1937: a Contribution to Wind Chamber Music and a Reflection of Concert Life in New York City in the Early 20Th Century
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2013 The New York Chamber Music Society, 1915-1937: A Contribution to Wind Chamber Music and a Reflection of Concert Life in New York City in the Early 20th Century Lisa Kozenko The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2557 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The New York Chamber Music Society, 1915-1937: A Contribution to Wind Chamber Music and a Reflection of Concert Life in New York City in the Early 20th Century by LISA A. KOZENKO A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2013 © 2013 Lisa A. Kozenko All rights reserved. This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Professor Jeffrey Taylor ___________________ ________________________ Date Chair of Examining Committee Professor David Olan ___________________ ________________________ Date Executive Officer Professor Richard Burke Professor Sylvia Kahan Professor Catherine Coppola Supervisory Committee THE CITY UNIVERSITY OF NEW YORK Abstract The New York Chamber Music Society, 1915-1937: A Contribution to Wind Chamber Music and a Reflection of Concert Life in New York City in the Early 20th Century by Lisa A. -
Mannes - Damrosch Collection
Mannes - Damrosch Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2007 Revised 2010 March Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu007003 LC Online Catalog record: http://lccn.loc.gov/2006568218 Processed by the Music Division of the Library of Congress Collection Summary Title: Mannes - Damrosch Collection Span Dates: 1848-1986 Bulk Dates: (bulk 1900-1950) Call No.: ML31.M2135 Creator: Mannes, David, 1866-1959 Extent: circa 1,700 items ; 36 containers ; 12 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Includes biographical materials, correspondence, writings, music, programs, clippings, artwork, photographs, awards, and other materials. Biographical materials include a copy of autobiography of Leopold Damrosch and memoirs of Marie von Heimburg, the aunt of Clara, Frank, and Walter Damrosch. Both items also exist in Damrosch-Tee Van Collection and Damrosch-Blaine Collection. The correspondence consists of letters between members of the Mannes and Damrosch families and other important correspondents, including Percy Goetschius, Franz Lizst (translation from the original), Daniel Gregory Mason, Sergei Rachmaninoff, John D. Rockefeller, Arthur Schnabel, Randall Thompson, and others. The writings contain primarily numerous literary works by Marya Mannes and articles by Leopold Damrosch, Clara Damrosch Mannes, Leopold Mannes. The music consists of holograph scores, parts, and sketches of compositions by Leopold Damrosch. Also included are manuscript copies of works by Heinrich Gottwald, holograph scores of Edmund Singer, and of songs by Leopold Mannes.