July-August, 2016 from the Editor Welcome to the July-August 2016 Edition of the AAA Newsletter
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176 -
The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES .................................................................................................................... -
Singing in English in the 21St Century: a Study Comparing
SINGING IN ENGLISH IN THE 21ST CENTURY: A STUDY COMPARING AND APPLYING THE TENETS OF MADELEINE MARSHALL AND KATHRYN LABOUFF Helen Dewey Reikofski Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2015 APPROVED:….……………….. Jeffrey Snider, Major Professor Stephen Dubberly, Committee Member Benjamin Brand, Committee Member Stephen Austin, Committee Member and Chair of the Department of Vocal Studies … James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Reikofski, Helen Dewey. Singing in English in the 21st Century: A Study Comparing and Applying the Tenets of Madeleine Marshall and Kathryn LaBouff. Doctor of Musical Arts (Performance), August 2015, 171 pp., 6 tables, 21 figures, bibliography, 141 titles. The English diction texts by Madeleine Marshall and Kathryn LaBouff are two of the most acclaimed manuals on singing in this language. Differences in style between the two have separated proponents to be primarily devoted to one or the other. An in- depth study, comparing the precepts of both authors, and applying their principles, has resulted in an understanding of their common ground, as well as the need for the more comprehensive information, included by LaBouff, on singing in the dialect of American Standard, and changes in current Received Pronunciation, for British works, and Mid- Atlantic dialect, for English language works not specifically North American or British. Chapter 1 introduces Marshall and The Singer’s Manual of English Diction, and LaBouff and Singing and Communicating in English. An overview of selected works from Opera America’s resources exemplifies the need for three dialects in standardized English training. -
6. the Evolving Role of Music Journalism Zachary Woolfe and Alex Ross
Classical Music Contemporary Perspectives and Challenges Classical Music This kaleidoscopic collection reflects on the multifaceted world of classical music as it advances through the twenty-first century. With insights drawn from Contemporary Perspectives and Challenges leading composers, performers, academics, journalists, and arts administrators, special focus is placed on classical music’s defining traditions, challenges and contemporary scope. Innovative in structure and approach, the volume comprises two parts. The first provides detailed analyses of issues central to classical music in the present day, including diversity, governance, the identity and perception of classical music, and the challenges facing the achievement of financial stability in non-profit arts organizations. The second part offers case studies, from Miami to Seoul, of the innovative ways in which some arts organizations have responded to the challenges analyzed in the first part. Introductory material, as well as several of the essays, provide some preliminary thoughts about the impact of the crisis year 2020 on the world of classical music. Classical Music Classical Classical Music: Contemporary Perspectives and Challenges will be a valuable and engaging resource for all readers interested in the development of the arts and classical music, especially academics, arts administrators and organizers, and classical music practitioners and audiences. Edited by Paul Boghossian Michael Beckerman Julius Silver Professor of Philosophy Carroll and Milton Petrie Professor and Chair; Director, Global Institute for of Music and Chair; Collegiate Advanced Study, New York University Professor, New York University This is the author-approved edition of this Open Access title. As with all Open Book publications, this entire book is available to read for free on the publisher’s website. -
Spring 2010 X
BARGEMUSIC In residence to the community all year long. Spring 2010 X “It doesn’t take long to hear what makes Bargemusic the perfect chamber music hall… ” —Allan Kozinn, The New York Times “The popular venture atop a floating barge … a wonderfully intimate place to hear chamber music.” —Anthony Tommasini, The New York Times w www.bargemusic.org [email protected] 718.624.2083 718.624.4061 Fulton Ferry Landing, Brooklyn w www.bargemusic.org W w Reservations W For reservations & all inquiries: 718.624.2083 or 718.624.4061 Seats are assigned in order of phone call or email. Email: [email protected] Ticket Prices: Vary by performance; please see individual calendar listings. Purchase tickets at the concert by cash or check only, please. Ask about group sales and gift certificates. Credit Cards by Phone: Purchase tickets with MasterCard or VISA, only by telephone at 718.624.2083. Cancellations: Please let us know before the concert if you cannot attend so that your seat can be reassigned. If you have already paid by check or credit card, you may donate your tickets for a tax deduction. We are not able to refund payments. w Directions W Bargemusic is in Brooklyn on the Fulton Ferry Landing near the Brooklyn Bridge See map online at www.bargemusic.org. By Subway: From Manhattan, ride in the rear of the A or C train to High Street station in Brooklyn. (From Brooklyn, ride in the front of the train). Use the FULTON STREET EXIT. Walk downhill on Cadman Plaza West to the East River, 3 blocks. -
EASTMAN NOTES JUNE 2005 Draft: Web Date: July 5, 2005 INSIDE
NOTES JUNE 2005 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE EDITOR Loss, love, and legacies Dear Eastman Alumni: More than any time since I began editing Eastman Notes, the winter and spring of 2004¬2005 was marked by a sense of loss, with the deaths of two inimitable NOTES figures in Eastman’s history: Frederick Fennell and Ruth Watanabe, who died in Volume 23, Number 2 December 2004 and February 2005 respectively. June 2005 It’s representative of their importance, not just to the School but to the musical world in general, that everyone reading this magazine, no matter when they at- Editor tended, knows who Frederick Fennell and Ruth Watanabe are. Both are indelibly David Raymond associated with two monuments of the School—the Wind Ensemble and the Sib- Assistant editor ley Library. Fennell built a new model for wind band playing—and a repertory— Juliet Grabowski pretty much from scratch; while Ruth Watanabe didn’t found the Sibley Library, Contributing writers she certainly developed it to its present eminence over a 40-year career. (See Martial Bednar Christine Corrado pages 6 and 8 for more Susan Hawkshaw on their remarkable ca- Contributing photographers reers.) Both continued Richard Baker to be generous with Kurt Brownell their time and talent Bob Klein well after retirement— Gelfand-Piper Photography Amy Vetter Fennell visiting Eastman numerous times to con- Photography coordinators Nathan Martel duct, Watanabe as the Amy Vetter School’s historian. Design These two people were Steve Boerner Typography & Design definitely respected as professionals, but they Frederick Fennell Ruth Watanabe Published twice a year by the Office of were also loved as people— Communications, Eastman School of Music, 26 Gibbs Street, Rochester, NY, see the brief tributes to Fennell by his successors Don Hunsberger and Mark 14604, (585) 274-1050. -
Peter and Lorraine Hunt Lieberson 1
21ST CENTURY MUSIC JANUARY 2006 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $84.00 per year; subscribers elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $10.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2006 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy. -
Traficante Final Dissertation
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE AN ANALYSIS OF JOHN ADAMS’ GRAND PIANOLA MUSIC A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By DEBRA LEE TRAFICANTE Norman, Oklahoma 2010 AN ANALYSIS OF JOHN ADAMS’ GRAND PIANOLA MUSIC A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ________________________________ Dr. William K. Wakefield, Chair ________________________________ Dr. Roland Barrett ________________________________ Dr. Paula Conlon ________________________________ Dr. Michael Raiber ________________________________ Dr. Teresa DeBacker © Copyright by DEBRA LEE TRAFICANTE 2010 All Rights Reserved. ACKNOWLEDGEMENTS My document committee consists of Dr. William K. Wakefield, Dr. Roland Barrett, Dr. Michael Raiber, Dr. Paula Conlon, and Dr. Teresa DeBacker, and I thank each of them for their careful reading and great assistance in the execution of this document. I feel very fortunate to have had the members who served on this committee, and hold them each in high regard. Special thanks are especially due to Dr. Wakefield, chair of my committee; he tirelessly helped me clarify ideas, find new ways to experience the piece, and express my thoughts more cogently. Without his unremitting support, this document would not exist. To my parents, Ron and Mary Ann Manna, I owe any success I have ever achieved to you both. The never-ending support you have afforded me is why I have accomplished what I have. I love you both and thank you. To my in-laws, Harry and Cheryl Craig, I sincerely appreciate the endless love and support you have given to me for the last fifteen years. -
Founders' Concert Program Final
Cascadia Composers Mission Statement Cascadia Composers engages our community through the creation, performance, and promotion of contemporary musical art, while providing resources and opportunities to Cascadia composers. Cascadia Composers serves northern Oregon and southern Washington and was founded in 2008. Website: www.CascadiaComposers.org Governing Board Ted Clifford, President Daniel Brugh, Vice President Jeff Winslow, Secretary/Treasurer Matthew Andrews, Membership Development • David S. Bernstein, Cynthia Gerdes, Evan David Lewis, Jan Mittelstaedt, Greg A Steinke, Linda Woody, at large Tomas Svoboda, Honorary Member Cascadia Composers is a chapter of the National Association of Composers/USA (NACUSA) NACUSA is a 501(c)(3) non-profit organization. Founded by Henry Hadley in 1933, it is one of the oldest organizations devoted to the promotion and performance of American concert hall music. Many of America's most distinguished composers have been among its members. These concerts and presentations are made possible by dues from NACUSA (National Association of Composers/USA), other grants and donors, and fundraisers sponsored by Cascadia. Special thanks to our media sponsor, Oregon ArtsWatch. Cascadia Composers receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts. Program cover design by Jennifer Wright CASCADIA COMPOSERS (Cascadia Chapter of the National Association of Composers/USA) presents Ten Years On: Cascadia Founders Speak Fear No Music - -
Nelsons Summons Compelling Drama of Tristan's Act II
Home About Classical Voice North America Are you a music critic? Join the MCANA Contact the Editors SupportAround theus U.S. MusicAround Critics Canada Create Annual Opera Award International Digital Issues in the Arts Member Blogs MembersRSS FEED on the Web Calendar Focus: Critics’ Picks Navigate to Nelsons Summons Compelling Drama Of Tristan’s Act II Camilla Nylund and Jonas Kaufmann joined Andris Nelsons and the BSO for Act II of ‘Tristan und Isolde.’ (Photo by Robert Torres) By Keith Powers BOSTON — Hyperbole and excess have followed Wagner’s Tristan und Isolde through history. Here are some examples: “The opera that changed music,” and “The only opera that exists.” Or conversely, “The most disgusting thing I have ever heard in my whole life,” and “The most enormous depravity I have ever seen.” And then back to, “I shall never forget this,” and “Dwarfs every other creation.” Even performances of just the emotionally tense second act of Tristan stand out as notable occasions. The Boston Symphony Orchestra, with Andris Nelsons on the podium, achieved just such a moment April 5 at Symphony Hall. Nelsons and company repeat the work at Carnegie Hall on April 12. (Hilary Scott) Nelsons Tristan excerpt shone thanks to a memorable cast of soloists led by tenor Jonas Kaufmann and soprano Camilla Nylund in the title roles. Lustrous mezzo-soprano Mihoko Fujimura brought the character of Isolde’s fretful servant Brangäne to life. Bass Georg Zeppenfeld (King Marke), tenor Andrew Rees (Melot), and baritone David Kravitz (Kurwenal) rounded out the stellar group. The performance was unstaged – no acting apart from a few facial mannerisms and one tender, prolonged glance between the lovers at the act’s climax. -
Effects of the Met: Live in HD on the Democratization of Opera in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 12-2020 Effects of The Met: Live in HD on the Democratization of Opera in America Anna Wigtil Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. EFFECTS OF THE MET: LIVE IN HD ON THE DEMOCRATIZATION OF OPERA IN AMERICA by Anna K. Wigtil A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Music Major: Music Under the Supervision of Professor Pamela Starr Lincoln, Nebraska December, 2020 EFFECTS OF THE MET: LIVE IN HD ON THE DEMOCRATIZATION OF OPERA IN AMERICA Anna K. Wigtil, M.M. University of Nebraska, 2020 Advisor: Pamela Starr The Met: Live in HD satellite broadcasts of live opera performances began in 2006 and have since become popular with audiences around the world. While this could be an excellent avenue to democratize opera and make it available to new audiences, the available data indicates that most Live in HD viewers are already opera enthusiasts and have previously attended live opera performances. This thesis examines the history of the Metropolitan Opera’s broadcasting efforts, the demographics of American opera audiences, trends in Live in HD’s repertoire, and strategies to increase Live in HD’s appeal to a broader, more diverse audience that can revitalize opera’s popularity in the United States. -
The Women's Philharmonic: Its History and Legacy
THE WOMEN’S PHILHARMONIC: ITS HISTORY AND LEGACY __________________ A University Thesis Presented to the Faculty of California State University, East Bay __________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Music __________________ By Mary Purpura August 2016 ! Mary Purpura © 2016 ! ""! ! THE WOMEN'S PHILHARMONIC: ITS HISTORY AND LEGACY By Mary Purpura Approved: Date: IZ&- ,;;;~, ;;?OJ£ Dr. Peter Marsh '1 ;}.D I 6 (lv_.e , ~ 1 I I iii ! Table of Contents Introduction…………………………………………………………………………...1 Chapter One. The History…………………………………………………………….7 Before 1900…………………………………………………………………...7 Early 1900s to Mid-Century…………………………………………………..8 The Women’s Philharmonic…………………………………………………15 Chapter Two. TWP’s Programming: Generous, Radical, and Unusual……………..29 The Biological Argument……………………………………………....……31 The Underrepresentation of New Music…………………………………….41 The Role of Stereotypes……………………………………………………..47 The Importance of Storytelling……………………………………………...51 Chapter Three. TWP’s Advocacy and Legacy…………………………………........62 Timeless Advocacy…………………………………………………………..64 New Incarnations…………………………………………………………….66 Allegra Chamber Orchestra………………………………………………….73 Bibliography…………………………………………………………………………76 ! "#! ! ! "! INTRODUCTION In 2000, New York oboist Sarah Davol was on tour in Germany. She visited the Anna Amalia Bibliothek in Weimar. Anna Amalia (1739-1807), Duchess of Saxe- Weimar, was an important patron of the arts and an accomplished composer in her own right. At the Anna Amalia Bibliothek—which housed a million books, as well as thousands of medieval and early modern manuscripts, maps, and original musical scores—Davol discovered a copy of Anna Amalia’s Sinfonia, a previously unknown work. Davol photographed the manuscript pages. In 2004, a fire tore through the library. Before firefighters could quell the flames, thousands of books from the 16th to the 18th century, oil paintings, and most of Anna Amalia’s personal musical collection—which included her own compositions—were destroyed.