July 1929) James Francis Cooke
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March 1921) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 3-1-1921 Volume 39, Number 03 (March 1921) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 39, Number 03 (March 1921)." , (1921). https://digitalcommons.gardner-webb.edu/etude/677 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. MARCH J921 The World of Music The Baton Range Philharmonic Or¬ chestra is the first organization of this na¬ ture, of symphony size, to be formed in the State of Louisiana. It gave its first program SSsS®®*' SEEK K'S Sissas8®' Page U6 MARCH 1921 THE ETUDE MARCH 1921 Page U THE ETUDE Schools anb Colleges-cbtcago SUMMER MASTER COURSES FOR PROFESSIONALS AND ADVANCED STUDENTS June 2Tth=July joth=ig2i DAVID Summer master School The American Conservatory announces the return LHEVINNE engagement of these world-famous BISPHAM June 27 to August 6 [Six Weeks] artists to conduct SPECIAL ENGAGEMENT OF MAST3EE CLASSES specially designed for professional pianists and PROF. -
A Violin by Jacobus Stainer 1679
146 A VIOLIN BY JACOBUS STAINER 1679 Roger Hargrave examines the construction and workmanship of this violin, which still retains its original undisturbed baroque neck. Roger Hargrave se penche sur la construction et la the necessary experience. facon d'un violon Jacobus Stainer, 1679, qui conserve Earlier Füssen in the Allgäu might have been a con - son manche baroque original encore intact. sideration, however, the ravages of the thirty years Roger Hargrave untersucht den Bau and die war had left Füssen bereft of skilled instrument mak - Machart einer Violine von Jacobus Stainer, 1679, ers, most of whom had found refuge in Italy and deren ursprünglicher barocker Hals unversehrt in particular in Venice, Rome and Padua. erhalten ist. Experts seem to agree that Stainer learned Jacobus Stainer is one of the very few non - his trade in Italy. And although this agree - Italian violin makers whose life and work have ment mostly rests on analogies of Stainer's been seriously researched. work, it is also known (from his writings) that he was familiar with the language. Furthermore, There have been a number of important publi - there are several oral traditions relating to an cations, most of which have drawn upon the Italian apprenticeship. As might be expected scholarly research work of the late Professor however these oral traditions are contra - Dr. Walter Senn. However, in spite of dictory, on the one hand saying that Senn's magnificent efforts, several im - Stainer worked in Venice and on the portant questions remain unanswered, other that he worked in Cremona. the exact dates of Stainer's birth and death, whether he used both written and Although Senn seems to have been printed labels, and undoubtedly the most convinced that Stainer . -
Records of the Immigration and Naturalization Service, 1891-1957, Record Group 85 New Orleans, Louisiana Crew Lists of Vessels Arriving at New Orleans, LA, 1910-1945
Records of the Immigration and Naturalization Service, 1891-1957, Record Group 85 New Orleans, Louisiana Crew Lists of Vessels Arriving at New Orleans, LA, 1910-1945. T939. 311 rolls. (~A complete list of rolls has been added.) Roll Volumes Dates 1 1-3 January-June, 1910 2 4-5 July-October, 1910 3 6-7 November, 1910-February, 1911 4 8-9 March-June, 1911 5 10-11 July-October, 1911 6 12-13 November, 1911-February, 1912 7 14-15 March-June, 1912 8 16-17 July-October, 1912 9 18-19 November, 1912-February, 1913 10 20-21 March-June, 1913 11 22-23 July-October, 1913 12 24-25 November, 1913-February, 1914 13 26 March-April, 1914 14 27 May-June, 1914 15 28-29 July-October, 1914 16 30-31 November, 1914-February, 1915 17 32 March-April, 1915 18 33 May-June, 1915 19 34-35 July-October, 1915 20 36-37 November, 1915-February, 1916 21 38-39 March-June, 1916 22 40-41 July-October, 1916 23 42-43 November, 1916-February, 1917 24 44 March-April, 1917 25 45 May-June, 1917 26 46 July-August, 1917 27 47 September-October, 1917 28 48 November-December, 1917 29 49-50 Jan. 1-Mar. 15, 1918 30 51-53 Mar. 16-Apr. 30, 1918 31 56-59 June 1-Aug. 15, 1918 32 60-64 Aug. 16-0ct. 31, 1918 33 65-69 Nov. 1', 1918-Jan. 15, 1919 34 70-73 Jan. 16-Mar. 31, 1919 35 74-77 April-May, 1919 36 78-79 June-July, 1919 37 80-81 August-September, 1919 38 82-83 October-November, 1919 39 84-85 December, 1919-January, 1920 40 86-87 February-March, 1920 41 88-89 April-May, 1920 42 90 June, 1920 43 91 July, 1920 44 92 August, 1920 45 93 September, 1920 46 94 October, 1920 47 95-96 November, 1920 48 97-98 December, 1920 49 99-100 Jan. -
Musical Fund Society of Philadelphia Supplementary Records Ms
Musical Fund Society of Philadelphia supplementary records Ms. Coll. 513 Finding aid prepared by Leann Currie. Last updated on May 15, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2005 Musical Fund Society of Philadelphia supplementary records Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents..................................................................................................................................... 10 Administrative Information......................................................................................................................... 12 Controlled Access Headings........................................................................................................................13 Collection Inventory.................................................................................................................................... 14 Early Membership..................................................................................................................................14 Minutes...................................................................................................................................................15 Musical Fund Hall................................................................................................................................ -
September 1914) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 9-1-1914 Volume 32, Number 09 (September 1914) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 32, Number 09 (September 1914)." , (1914). https://digitalcommons.gardner-webb.edu/etude/606 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE 625 Combs Broad Street Conservatory Greatest Educational Work of the Age Standard and Modern Mathews Standard Instruction Books Graded Course of for the Pianoforte THE SELECTION OF THE RIGHT MUSIC ■r^lna; Studies™ Pianoforte SCHOOL IS THE ALL IMPORTANT STEP Compiled by W. S. B. MATHEWS Individual attention, high ideals, breadth of culture, personal care and moderate cost of education at the COMBS BROAD ST. CONSERVATORY OF MUSIC should interest you !§pnmmmmMs. Three Decades of Success Teachers of World Wide Fame Can Accommodate 2500 Day and Dormitory GILBERT RAYNOLDS COMBS, Piano. Students. HENRY SCHRAD1ECK, Violin. iEssSItsI' Chartered by State of Pennsylvania with HUGH A. CLARKE, Mus. Doc., Theory and seventy artist teachers—graduates of the power to confer degrees. -
The Walt Disney Silly Symphony Cartoons and American Animation in the 1930S
Exploration in Imagination: The Walt Disney Silly Symphony Cartoons and American Animation in the 1930s By Kendall Wagner In the 1930s, Americans experienced major changes in their lifestyles when the Great Depression took hold. A feeling of malaise gripped the country, as unemployment rose, and money became scarce. However, despite the economic situation, movie attendance remained strong during the decade.1 Americans attended films to escape from their everyday lives. While many notable live-action feature-length films like The Public Enemy (1931) and It Happened One Night (1934) delighted Depression-era audiences, animated cartoon shorts also grew in popularity. The most important contributor to the evolution of animated cartoons in this era was Walt Disney, who innovated and perfected ideas that drastically changed cartoon production.2 Disney expanded on the simple gag-based cartoon by implementing film technologies like synchronized sound and music, full-spectrum color, and the multiplane camera. With his contributions, cartoons sharply advanced in maturity and professionalism. The ultimate proof came with the release of 1937’s Snow White and the Seven Dwarfs, the culmination of the technical and talent development that had taken place at the studio. The massive success of Snow White showed that animation could not only hold feature-length attention but tell a captivating story backed by impressive imagery that could rival any live-action film. However, it would take nearly a decade of experimentation at the Disney Studios before a project of this size and scope could be feasibly produced. While Mickey Mouse is often solely associated with 1930s-era Disney animation, many are unaware that alongside Mickey, ran another popular series of shorts, the Silly Symphony cartoons. -
A History of Rhythm, Metronomes, and the Mechanization of Musicality
THE METRONOMIC PERFORMANCE PRACTICE: A HISTORY OF RHYTHM, METRONOMES, AND THE MECHANIZATION OF MUSICALITY by ALEXANDER EVAN BONUS A DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of _____________________________________________________Alexander Evan Bonus candidate for the ______________________Doctor of Philosophy degree *. Dr. Mary Davis (signed)_______________________________________________ (chair of the committee) Dr. Daniel Goldmark ________________________________________________ Dr. Peter Bennett ________________________________________________ Dr. Martha Woodmansee ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________2/25/2010 *We also certify that written approval has been obtained for any proprietary material contained therein. Copyright © 2010 by Alexander Evan Bonus All rights reserved CONTENTS LIST OF FIGURES . ii LIST OF TABLES . v Preface . vi ABSTRACT . xviii Chapter I. THE HUMANITY OF MUSICAL TIME, THE INSUFFICIENCIES OF RHYTHMICAL NOTATION, AND THE FAILURE OF CLOCKWORK METRONOMES, CIRCA 1600-1900 . 1 II. MAELZEL’S MACHINES: A RECEPTION HISTORY OF MAELZEL, HIS MECHANICAL CULTURE, AND THE METRONOME . .112 III. THE SCIENTIFIC METRONOME . 180 IV. METRONOMIC RHYTHM, THE CHRONOGRAPHIC -
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F. -
Volume 46, Number 01 (January 1928) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1928 Volume 46, Number 01 (January 1928) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 46, Number 01 (January 1928)." , (1928). https://digitalcommons.gardner-webb.edu/etude/752 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. The Journal of the ^Musical Home Everywhere THE ETUDE ) ''Music MCagazi January 1928 NEW YEARS AMBITIONS Panted by C. W. Snyder PRICE 25 CENTS $2.00 A YEAR •/ ' * ' . • - - - V ■ / * ETV D E jssMastf-r ift 1 Outstanding Piano Composen Whose Works Are Worth Knowing festers fjruguay.H Canada,’ tiS* STjE? Auditor! Td WARD^JwOTtHHIPOTER “? , Subscrib/rs We will gladly send any ot tnese compositions to piano teachers, allowing the privilege of ex¬ amining them on our “On Sale” plan and per¬ mitting the return ofot those not desired.aesirea. Askask forior “On Order Blank and the details of ?his helpful plan if you have never enjoyed its jVL/ 12 IS d-1 ffir n kJ> PRINTED IN THE UN,TED STATES OP AMERICA * — ' - ™L,SHE, > -V THEODORE PRESSER CO. -
Business in the 1920S Is This Photo of President and Mrs
BECOMING MODERN: AMERICA IN THE 1920S PRIMARY SOURCE COLLECTION ONTEMPORAR Y IN OMMENTARY THE T WENTIES C — BUSINESS — * Aptly illustrating the faith in American business in the 1920s is this photo of President and Mrs. Coolidge in 1924 welcoming members of the Republican Businessmen’s Association of New York. In an address the next year, Coolidge delivered his most frequently quoted statement: “After all, the chief business of the American people is business.” For by 1925 the nation’s economy had lifted itself out of the dreadful postwar recession and was setting new highs for production and consumption. American free enterprise was robust, confident, and delivering the goods, literally. Collected here is period commentary on the “chief business of the American people,” the rewards and pitfalls of its predominance, and the proper relationship of business and government in promoting the general welfare. An early proponent of applying scientific management principles to market analysis, Percival Percival White White published this essay on Americans’ embrace of business as a national ideal, satirizing “The Almighty Minute” while applauding its centrality in Americans’ sense of the successful modern life. Atlantic Monthly, July 1920 Business is not a part of American life; it is American life. The American businessman devotes 1440 minutes a day to business. Before daybreak, an alarm clock wrests him from his fitful business dreams. He gulps down business news along with his eggs and coffee. He plans business on his way to the office. His morning is spent in reading business, dictating business, and talking business. He keeps a business engagement for luncheon. -
The Strad Magazine
FRESH THINKING WOOD DENSITOMETRY MATERIAL Were the old Cremonese luthiers really using better woods than those available to other makers FACTS in Europe? TERRY BORMAN and BEREND STOEL present a study of density that seems to suggest otherwise Violins await testing on a CT scanner gantry S ALL LUTHIERS ARE WELL AWARE, of Stradivari. To test this conjecture, we set out to compare the business of making an instrument of the the wood employed by the classical Cremonese makers with violin family is fraught with pitfalls. There that used by other makers, during the same time period but are countless ways to ruin the sound of the from various regions across Europe. This would eliminate one fi nished product, starting with possibly the variable – the ageing of the wood – and allow the tracking of Amost fundamental decision of all: what wood to use. In the past geographical and topographical variation. In particular, we 35 years we have seen our knowledge of the available options wanted to investigate the densities of the woods involved, which expand greatly – and as we learn more about the different wood we felt could be the key to unlocking these secrets. choices, it is increasingly hard not to agonise over the decision. What are the characteristics we need as makers? Should we just WHY DENSITY? look for a specifi c grain line spacing, or a good split? Those were The three key properties of wood, from an instrument maker’s the characteristics that makers were once taught to watch out perspective, are density, stiffness (‘Young’s modulus’) and for, and yet results are diffi cult to repeat from instrument to damping (in its simplest terms, a measure of how long an object instrument when using the same pattern – suggesting these are will vibrate after being set in motion). -
Volume 58, Number 07 (July 1940) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1940 Volume 58, Number 07 (July 1940) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 58, Number 07 (July 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/259 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. ) . — < @ — — — —— . — — — — — — repertoire suggests the use of Summer enlarging ofthe £F\ •viert — I HOE Recent Additions mmsd(s m at qj d n fi coj to the Catalog of FAMOUS SONGS PUBLISHED MONTHLY By Theodore presser Co., Philadelphia, pa. H. E. KREHBIEL, Editor editorial and ADVISORY staff Volume Editor Price, $1.50 Each Tor ALTO DR. JAMES FRANCIS COOKE, Ditson Co. Hipsher, Associate Editor Oliver For SOPRANO outstanding writers on musical Dr. Edward Ellsworth America's • Mode by one of Contents William M. Felton. Music Editor music critic of leading metropolitan Contents subjects, for years the Guy McCoy volumes of Famous bongs Verna Arvev Or. Nicholas Doury Elizabeth Ciest journals, this collection in the four Beethoven. Good Friend, for Hullah. Three Fishers RoyPeery Went Dr. S. Fry George C. Knck Dr. Rob Jensen.