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A Formal Analytical Approach Was Utilized to Develop Chart Analyses Of
^ DOCUMENT RESUME ED 026 970 24 HE 000 764 .By-Hanson, John R. Form in Selected Twentieth-Century Piano Concertos. Final Report. Carroll Coll., Waukesha, Wis. Spons Agency-Office of Education (DHEW), Washington, D.C. Bureauof Research. Bureau No-BR-7-E-157 Pub Date Nov 68 Crant OEC -0 -8 -000157-1803(010) Note-60p. EDRS Price tvw-s,ctso HC-$3.10 Descriptors-Charts, Educational Facilities, *Higher Education, *Music,*Music Techniques, Research A formal analytical approach was utilized to developchart analyses of all movements within 33 selected piano concertoscomposed in the twentieth century. The macroform, or overall structure, of each movement wasdetermined by the initial statement, frequency of use, andorder of each main thematic elementidentified. Theme groupings were then classified underformal classical prototypes of the eighteenth and nineteenth centuries (ternary,sonata-allegro, 5-part or 7-part rondo, theme and variations, and others), modified versionsof these forms (three-part design), or a variety of free sectionalforms. The chart and thematic illustrations are followed by a commentary discussing each movement aswell as the entire concerto. No correlation exists between styles andforms of the 33 concertos--the 26 composers usetraditional,individualistic,classical,and dissonant formsina combination of ways. Almost all works contain commonunifying thematic elements, and cyclicism (identical theme occurring in more than1 movement) is used to a great degree. None of the movements in sonata-allegroform contain double expositions, but 22 concertos have 3 movements, and21 have cadenzas, suggesting that the composers havelargely respected standards established in theClassical-Romantic period. Appendix A is the complete form diagramof Samuel Barber's Piano Concerto, Appendix B has concentrated analyses of all the concertos,and Appendix C lists each movement accordog to its design.(WM) DE:802 FINAL REPORT Project No. -
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American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLVI, Issue 1 Fall 2016 Now He Walks in Beauty: An American Choral Icon Malcolm J. Merriweather, Brooklyn College, CUNY 2016 was a particularly poignant year of loss for the music world. In pop music, the world bid farewell to ground-breaking artists like David Bowie, Prince, and George Michael. On 12 July 2016 the world of choral music lost a great luminary with the death of Gregg Smith. During the second half of the twentieth century, Smith set the standard for professional choirs when he established the Gregg Smith Singers and was widely admired for his contributions to the field of contemporary choral composition through interpretation, commis- sioning, and recording. Gregg Smith was born on 21 Au- gust 1931 in Chicago, Illinois to Myr- tle and Howard Smith. He earned a B.A. in music and an M.A. in com- position from the University of Cali- fornia at Los Angeles. His primary composition teachers were Lukas Foss and Leonard Stein, and his conduct- ing and ensemble mentors were Raymond Moreman and Fritz Zweig. Throughout his career, Smith served on the faculties at Ithaca College, the State University of New York at Stony Brook, Peabody Conservatory, Columbia University, and Manhattan School of Music. In 1955, he founded the Gregg Gregg Smith, 1931–2016 Smith Singers in Los Angeles. At the Contemporary Music Festival in Darmstadt, Smith and his singers were featured in Time (September, 1961, 73) after a successful performance of music by Schoenberg, Krenek, and Ives. -
Chapter 1: Schoenberg the Conductor
Demystifying Schoenberg's Conducting Avior Byron Video: Silent, black and white footage of Schönberg conducting the Los Angeles Philharmonic in a rehearsal of Verklärte Nacht, Op. 4 in March 1935. Audio ex. 1: Schoenberg conducting Pierrot lunaire, ‘Eine blasse Wäscherin’, Los Angeles, CA, 24 September 1940. Audio ex. 2: Schoenberg conducting Verklärte Nacht Op. 4, Berlin, 1928. Audio ex. 3: Schoenberg conducting Verklärte Nacht Op. 4, Berlin, 1928. In 1975 Charles Rosen wrote: 'From time to time appear malicious stories of eminent conductors who have not realized that, in a piece of … Schoenberg, the clarinettist, for example, picked up an A instead of a B-flat clarinet and played his part a semitone off'.1 This widespread anecdote is often told about Schoenberg as a conductor. There are also music critics who wrote negatively and quite decisively about Schoenberg's conducting. For example, Theo van der Bijl wrote in De Tijd on 7 January 1921 about a concert in Amsterdam: 'An entire Schoenberg evening under the direction of the composer, who unfortunately is not a conductor!' Even in the scholarly literature one finds declarations from time to time that Schoenberg was an unaccomplished conductor.2 All of this might have contributed to the fact that very few people now bother taking Schoenberg's conducting seriously.3 I will challenge this prevailing negative notion by arguing that behind some of the criticism of Schoenberg's conducting are motives, which relate to more than mere technical issues. Relevant factors include the way his music was received in general, his association with Mahler, possibly anti-Semitism, occasionally negative behaviour of performers, and his complex relationship with certain people. -
Rudolph Ganz Swiss Pianist, Conductor and Composer
AMICA International Automatic Musical Instrument Collectors' Association Honor Roll Rudolph Ganz Swiss pianist, conductor and composer Zurich, 24.02.1877 - Chicago, 02.08.1972 RUDOLPH GANZ BY EMMETT M. FORD The AMICA, v.14, No 4, May 1977 Rudolph Ganz, distinguished pianist, composer, conductor,Duo-Art, Welte-Mignon and Ampico recording artist and phonograph recording artist was born in Zurich, Switzerland, February 24, 1877. His early studies were at the Zurich Conservatory with Robert Freund in piano and cello with John Hegar. Later he went to Lausanne to receive piano instruction from his uncle, Carl Eschmann-Dumur, and composition with Charles Blanchet. At the Conservatory in Strasburg, Alsatia, he was the pupil of Fritz Blumer. Going to Berlin, he studied piano with Ferruccio Busoni and composition with Heinrich Urban. At the age of ten he appeared in public for the first time as a cellist in his home town. He turned to the piano as a future choice in instruments and at the age of twelve made his pianistic debut in 1889 in Zurich. Many concerts were made after his Zurich debut. At his Berlin debut he performed the Beethoven Concerto in E Flat and the Chopin E Minor Concerto. His first appearance as an orchestral conductor was in May of 1900 conducting the Berlin Philharmonic Orchestra in the performance of his first symphony. It was in this year when he composed a piano and orchestra composition entitled "Konzertstuck." In July, 1900 he married an American concert singer, Mary Forrest. The couple came to the United States where Mr. Ganz became head of the piano department of the Chicago Musical College, the post vacated by A. -
Arnold Schoenberg's Los Angeles
WHEN THE MUSICAL WORLD’S LEADING MODERNIST HOLLYWOOD RESERVOIR arrived in the City of Angels in 1934, he found himself in a CAHUENGA BLVD. HOME OF thriving—and often incongruous—cultural mélange: amid HOME OF GALKA SCHEYER ERNST KRENEK 1880 Blue Heights Dr. Palm Springs, CA (Not shown on map) German-born screenwriter; hostess; art sunshine and palm trees, marquee faces and media moguls lived patron, most notably for the “Blue Four” Austrian-born composer; (Wassily Kandinsky, Paul Klee, Alexei von THE HOLLYWOOD BOWL HOME OF godfather of Schoenberg’s Yavlensky, Lionel Feininger). Home was son Ronald. 2301 N. Highland Ave. CANYON COVE ARNOLD SCHOENBERG designed by Richard Neutra, later 5860 Canyon Cove alongside a growing community of Europe’s intellectual elite modified by Gregory Ain. Music of Schoenberg conducted during his lifetime by Nicolas Slonimsky, Eugene Schoenberg family home from Goossens, and Henri Verbrugghen. fall 1934 until spring 1936. MARAVILLA DR. MARAVILLA fleeing Nazi persecution. This map highlights the many facets of CANYON RD. FRANKLIN AVE. HOTEL CONSTANCE BLUE HEI 940 E. Colorado Blvd., Pasadena GH TS DR. HOME OF (Not shown on map) Arnold Schoenberg’s life in Los Angeles: as composer, conductor, MAX REINHARDT HIGHLAND AVE. HOLLYWOOD BLVD. Temporary home of the Schoenbergs, 2201 Maravilla Dr. for two weeks in September 1934. R D German-born theater and film director; A SILVER Z A SUNSET BLVD. LAKE L produced A Midsummer Night’s Dream teacher, émigré, friend, and family man. P RESERVOIR T ASSISTANCE LEAGUE PLAYHOUSE IIII E in 1934 at the Hollywood Bowl; made S N 1367 N. -
John Cage and Recorded Sound: a Discographical Essay
SOUND RECORDING REVIEWS Edited by Rick Anderson JOHN CAGE AND RECORDED SOUND: A DISCOGRAPHICAL ESSAY By Rob Haskins Record collections, - that is not music. ... A lady in Texas said: I live in Texas. We have no music in Texas. The reason they've no music in Texas is because they have recordings. Remove the records from Texas and someone will learn to sing.1 John Cage's ambivalent attitude toward recorded sound is well known. Ever skeptical of an aesthetics that privileges objects, he felt that audi- ences should pay more attention to art, like existence itself, as a continual process of becoming. In conventional music, according to Cage, com- posers imprisoned sounds within relatively straightforward structural de- signs that were intended either to impress listeners with intellectual inge- nuity or to drown them in sentiment, preventing the sounds from tending toward their natural complexity and ambiguity. As a result, musical recordings brought about the mistaken impression that performance - a naturally evanescent experience - could be reified and that the resul- tant objects, now possessed by its consumers, held the same ontological status as the music itself. Cage's emphasis on becoming also included an ethical dimension. He famously spoke of his music and ideas as useful for society - that princi- ples embodied in his music could be used to solve social problems - and also noted that he had no use for recordings. While this statement sug- gests that Cage doubted the social usefulness of recordings, the implica- tions of the remark are unclear. He possibly meant that the false objecti- fication of music through recorded sound discouraged difference: the ideal state of societies comprising many individuals. -
Gitta Cottle, 80, Concert Piano Artist
AMICAlnternational JYews BuUetin DOROTHY BROMAGE, PUBLISHER POB 275CCB (207) 767-4446 Cape Elizabeth, ME 04107 Published by the Automatic Musical Instrument Collectors' CHAPTER OffiCERS Association, a non-profit club devoted to the restoration, FOUNDING CHAPTER IOWA distribution and enjoyment of musical instruments using per Pres: Phil McCoy Pres: George Apland forated paper music rolls, AMICA was founded in San Francisco Vice Pres: Isadora Koff Vice Pres: E.H. Breckenfelder in 1963. Treas: Bob Wilcox SeclTreas: Marjorie Apland Sec/Reporter: Jack & Dianne Reporter: Jack Niewoehner Edwards SOUTHERN CALIFORNIA BOSTON AREA Pres: Warren & Rosemary Pres: Judy Welsh Deasy Vice Pres: Michael Potash Vice Pres: Jerry Pell Sec: Bill Koenigsberg Sec: John Candido Treas: Philip Konop Treas: larry Norman Reporter: Donald Brown Reporter: Jerry Pell TEXAS NORTHERN LIGHTS Pres: Wade Newton Pres: Jerrilyn Boehland Vice Pres: lorane Smith Vice Pres: Tom Wordeman SeclTreas: Carole Beckett Sec: Tracy Tolzmann ADVERTISING Reporter: Janet Tonnesen Treas: Robert & Katheryn Classified: 10¢ per word, $1.50 minimum. Duma ,. All copy must reach the publisher by the 10th of the preceding Reporter: Ruby Ahneman month. Payment must accompany order. Make checks payable MIDWEST SIERRA-NEVADA Pres: Edwin Ward Pres: Bob Patton to: AMICA INTERNATIONAL. Vice Pres: liz Barnhart Vice Pres: Vicki Mahr • Checks or money orders from advertisers in foreign' countries Sec: lawrence & Margaret SeclTreas: Audrey Winters must be drawn on a U.S. bank. Frazer Reporter: Bob and Sonja leomon Treas: Alvin Wulfekuhl Display Advertising Reporter: Sue Ricca Full Page 7Y2"x10" $100.00 PHILADELPHIA AREA CHICAGO AREA Half page 7Y2"x43A" 50.00 Pres: Bob Taylor Pres: Jim Edwards Vice Pres: Frank Diamond Vice Pres: Carol Dayton & 3 Quarter page 3%"x4 A" 25.00 Sec: Frank Basil Mabel Zivin • Each photograph or half-tone $7.00 Treas: len Wert Sec: Bob & Gloria Taylor '_ Reporter: Bob Rosencrans Treas: Bill & Dee Kavouras • See Bulletin deadlines on this page. -
No Ear for Music the Scary Purity of John Cage
34 No Ear for Music The Scary Purity of John Cage David Revill, The Roaring Silence (New York: Arcade, 1992; 375 pp.) Richard Kostelanetz, ed., Conversing with Cage (New York: Limelight, 1988; 300 pp.) Pierre Boulez and John Cage, Correspondance et documents, edited by Jean-Jacques Nattiez (Winterthur: Amadeus, 1990; 234 pp.); trans. Robert Samuels, The Boulez- Cage Correspondence (Cambridge: Cambridge University Press, 1993; 168 pp.) John Cage, The Complete Quartets; Arditti Quartet (Mode 17 & 27, 2 CDs) John Cage, The Perilous Night; Four Walls; Margaret Leng Tan (New Albion 37) John Cage, Lecture on Nothing; Works for Cello; Frances-Marie Uitti (Etcetera 2016) Lenny Bruce had a routine in which he sent audiences into paroxysms by classifying any artifact of contemporary culture to which they referred him as Jewish or goyish. The high point, on the recording that I heard, came when someone shouted, I think, “instant scrambled eggs,” and Bruce went, “ooh . scary goyish.” There is no better way of understanding what John Cage has meant to us, why he was so notorious and then so famous, and why his name will long remain an emblem. For half a century he stalked the world of music as its scariest goy. This had nothing to do with religion, or with the ethnic complexion of modern America. It wasn’t even a question of Us and Them. What made the classification funny was that all the mundane items classified belonged to Us. The classification showed up the contradictions in the shared culture, and in its values. What was “Jewish” confirmed our cherished notions of ourselves; what was “goyish” disconfirmed them. -
Theatre. Monday
Page Six THE DAILYWORKER, NEW YORK, SATURDAY’, NOVEMBER 12, 1927 f- : j" The New Plays “SPELLBOUND” by Frank Vos-' j A Theatre Guild Production per opens at the Earl Carroll I | Theatre next Monday evening with I San Carlo Singers Open FRANCO TAFURO Pauline Lord as the star. A GENIAL PHILANDERER 1 “NEW YORK” by Samuel Rus- Final Week With kin Golding, will be presented at “Tosca” | the Mansfield Theatre. Monday. “And So to Bed” Keeps Audience Wide Awake PORGY George Mac- A FOLK Ruth Shepley and Opera Com- .... PLAY at the Shubert Theatre The San Carlo Grand BY DUBOSE AND DOROTHY HEYWARD Quarrie are featured. pany, which opened the new Gallo MARQUISE,” a new play West 52d St. Evs. 8:40 “THE Eddinger, Theatre last Monday night, announces rfllin THFA to open THO Wallace as Samuel WALTER HAMPDEN UUILI/ 1IlllfL, Mats. Thurs. & Sat. 2:40. bv Noel Coward scheduled * the repertoire for the final week Monday Pepys, the world’s most famous MOVES MONDAY, NOV. 21, TO REPUBLIC THEATRE at the Biltmore Theatre, here. Only one'work in last week’s evening. Billie Burke is starred. diarist, contributes to ear strain at faulty enunciation, list will be repeated: “Madama But- AND MODELS.” times because of “ARTISTS his portrayal of the leading role in terfly” at Saturday’s matinee. The new Shubert Revue will have, The week’s offerings are: Monday, “Thrilling story. ; “And So to Bed,” endeared the ras- Superb play. Enthusiastically received.” 1 its premier at the Winter Garden “La Shalow, Schalker cally Pepys (pronounced peeps) to Tosca” with —Times. -
Twentieth Century Orchestral Music Syllabus 2019
MUS 379K/387L: Twentieth-Century Orchestral Music Tuesday & Thursday 2:00 pm – 3:30 pm MRH 2.610 Spring 2019 Professor Alison Maggart Office: MRH 3.714 Office Hours: Mondays 10:30 am – 12:00 pm and by appointment Open Sound Meditations: TBD Email: [email protected] Course Overview The twentieth century produced some of the most challenging and provocative works in the western art music tradition. In the absence of any dominant style, a diversity of compositional approaches and musical philosophies questioned previous distinctions between music, sound, noise, and silence; reconfigured the relationships between composer, performer, and audience; reconceived the roles of time, space, tonality, timbre, and rhythm in musical structure; and reimagined the significance of the subconscious, emotion, and author in the creative process. A deepening historical consciousness led to rejections and reinterpretations of past styles and forms. New technologies and increasing globalization expanded composers’ sonic palettes. And boundaries between popular, folk, and art music disintegrated. During this period, orchestral music – as the most public declaration of a composer’s musical philosophy – was subject to more external pressure than any other repertoire. The nineteenth- century legacy of the symphony made the genre particularly loaded: having been both the locus of hotly-contested ideological and formal debates and the foundation for canonization, symphonic composition was often approached with caution, proclaimed exhausted, or viewed as a retreat into the past during the twentieth century. As Stravinsky put it at mid-century, “Though the standard orchestra is not yet an anachronism, perhaps, it can no longer be used standardly except by anachronistic composers.” Economic and political stresses also affected composition, contributing, for example, to the decline of orchestral compositions during the interwar years and the revivification of traditional forms under Soviet Realism. -
Curriculum Vitae
ROBERT HAMILTON, Pianist Curriculum Vitae EMPLOYMENT CONTRACTS 1980-Present: Arizona State University Professor of Music . Studio Piano instruction: DMA Performance & Performance Pedagogy, MM Performance & Performance Pedagogy, BM Performance, BME Education . DMA & MM Advisor, Committee Chmn. & Member . Studio Performance Classes twice weekly . Keyboard Area Coordinator 3 times . Performance Division Chmn./Advisory Council . SOM Personnel Committee 3 times . College Personnel Committee 2 times . Piano Search Committee Chmn.5 times . Artist Diploma Chmn. 1998-Present/July-August: PianoSummer International Festival, New York . Distinguished Colleagues: Vladimir Feltsman, Susan Starr, Paul Ostrovsky, Alexander Korsantia, Anthony Newman, Robert Roux, Phillip Kawin, Alexander Slobodyanik, Eteri Andjaparidze 1992-1998/July-August: London International Piano Festival Artistic Director and Teacher . Distinguished Colleagues: Julian Martin, Yong-Hi Moon, Young-Sook Kim, Nako Paik, Boaz Sharon, Colin Kingsley, Phillip Kawin 1975-1980: Wichita State University Associate & Full Professor of Piano . Studio Piano instruction: MM Performance & Pedagogy, BM Performance, BME Education . MM Advisor, Committee Chmn. & Member . Studio Performance Class weekly . Piano Area Coordinator . Personnel Committee 1967-1975: Indiana University School of Music-South Bend Pianist in Residence, Assistant and Associate Professor of Piano . Studio Piano instruction: MM Performance, BM Performance, BME Education . MM Advisor, Committee Chmn. Head, Piano Department . Dean’s -
Debussy and Schoenberg: Two Musical Reactions to Late Romanticism Priscila Ott Alcf Ao Oliveira James Madison University
James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2015 Debussy and Schoenberg: Two musical reactions to late romanticism Priscila Ott alcF ao Oliveira James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Music Performance Commons Recommended Citation Ott alcaF o Oliveira, Priscila, "Debussy and Schoenberg: Two musical reactions to late romanticism" (2015). Dissertations. 23. https://commons.lib.jmu.edu/diss201019/23 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Debussy and Schoenberg: Two Musical Reactions to Late Romanticism Priscila Oliveira A dissertation submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2015 Acknowledgments First and foremost, I praise God for providing me this opportunity and granting me the capability to proceed successfully. I thank him for allowing the right people to assist me during this work. I would like to express my deepest gratitude to my advisor and piano teacher, Dr. Lori E. Piitz, for her unbound guidance, support, encouragement and patience during the whole period of study, as well as during the writing process. I am also very grateful to Dr. Erik Ruple and Dr. Jason Haney, members of my committee, for their time spent in examining this document, and for their invaluable advice and helpful suggestions for improving it.