Candidates to Talk Today at CG Meeting

Total Page:16

File Type:pdf, Size:1020Kb

Candidates to Talk Today at CG Meeting Vol. Lii WELLESLEY, MASS., FEBRUARY 26, 1959 Mo.:' Experts from World ofArts Give Candidates To Talk Professional Views at Symposium Today at CG Meeting Tod:1v al '1 p.m. the candidates for was the only c;rnclitlaL<· <•n the ballot. !Jy Li111la Baker '62 and their works sound much ;illke. College Government president will \'hen <i~k •it \~hy she had with· The Art Symposium celcb1-aUnt: in lhe concert hall thQ Qlu,ic of be announced at a mass meotlni; ln drawn. Bcby Andl•r,on ~aid that if the completion of the Jewett Arts the western world is i·cduced to a Alum_ The candidates are being nom- ~hi.' had won by default, she would Center began Tuesday evening with basic international repetoire or ap· inatcd by P<"titions which must b<· have been unable to win popular talks by three well-known creative proximately .fifty works. of which turned in to ~fary Mathias '59. cur- :1uppo1i. or rcsp(•Cl for an:i' of lier artisls. Virgil Thomson. composer. perhaps ten were written this cen­ rent pn·sident of CG, or ~Iargcc actions :is president oC CG. music critic and author, .Josef Albers. tury. said Mr. Thomson, and a sup­ Danit•ls '5!l. head of the CG Elections No Choice ls Farce painter and teacher, and L<-e Stras­ plementary repetoire consisting of Commiltei: before the mass meet­ berg, producer, director and head of "compliments to the local compos· ing twi:111 "Il would l>c undemo<'ratic if I the Actor's Studio took part in the ers.µ "There is no player in an were to step into an office simply Thi• m""~ rneeling will give stu­ opening session. orchestra who cannot be replaced dents a d1<lllCt'I lO fJUCStlon all Of the because 1 hadn't cros:.cd olI and "Since 1914. lhe o01cial lradilion wilhin 24 hours and without re candidai<'' tor thr majo1· CG oflices. everyone el~t· had." Betsl pointed in the mus1cnl progress has been bearsal," he clainwd, Shdnklnsi Ballot out. ''The voters must be given a (.hat of constanl change," said Mr. Cult ure Demands Ana rchy By Monda) niglJl all nominet•s for choice or the l'iel'tion is a farce.'' Thompson. "Culture grows like nn organism CG president. had wtth<lra\\'n from "H 1 h<td been elected by a "o-callcd 1n the lwentic-th century music and al a certain point stops grow­ competition. Two or tlw candidate,, vote of confidence." she said. "my has become a "standardized produd jng and becomes useful." This. Betsy Dunn '50 and Pat Wagner '60, program for changes in Senate and produced for a ,.;(andardizcd con· claimed Mr. Thom~on, is what ,;hould had crossed off before ~onclay noon. CG would have been complelcfy hancl­ sumer." Those who control the "in­ han, happened to musk in 1914. 1'l1c third candida1e. Betsy Anderson eulTl'cl. If I had run alone. il would dustry''. managers and puhlisher~. Music is i1ow a "full grown lan­ '60. withdrew from the contest ~!on· have been unfair lo me and unfair believe in ··antiques or the futurt"' guage" bul there Hr" enormous day night after learning that· she LO the voters." and tend to support almost any con­ changes in ideas and 'Cll>1hil1th-~ temporar~- who conforms to the rules which il should be freed to express. of change. For this reason. i\Ir. '"\Ve need a moment of ~marchy in Thomson maintained, all composer" 'Hopefuls' Voil'e Platfornis Lee Strasberg which composer:; forget tradilions, today use vari11nts of Uic same style progreRs and change and expres' b11, Joa11 ,1f<lrx "61 choos1• to think C. G. is doing a their real feelings"', disciplined only Ann Colman '60, Amanda (~fondq rather l•fficicnl j•Jb on c;m1pus," and by spontaneity and sinceritr. hl' con· }'OPP '60 and :\lary Stimpson '60 am is nu~. "rull of grn;1l 1111d knotty 1>rob· ~t·11ait• llea rs ll~qttt_-.st rludecl. lite lhn•e candidates for Chief Jus­ lem,. Facts and Non-Facts tice· of College Go,·errnnent. All thret• Ann 1s n class Cottrt lt1·p and "Th<· origin of nrt lS lhc discrc­ ~upporl re-evaluation of C. G. anrl former!\ I n·~hm;111 R~·1 lu<I ''lwpel Fo1~ I~a •.e Ope-.1 llo11st~ 1->npj1 pency betwecm phy~ical f<tcl and slr<"ss lht• value of th .. ind11 idual IUvn'•i.IUdl ~rot.eCltOft 'j111_, possihilit>- ot kt•<·pin!> <lormi­ of organization acli\·iti<'.!i. N~A mem p,h~ sic etiecl ,'' ..ta, c<l .fu~ef .\liNr,,. I" ;·, ' .J,. i<'C' ~v1·1,;, w1UJ tile \01 les opeu fvr the <.'nterlainme11t ber.s have attended several iull·r-eol· Ht• cxplamed this concept by varl­ House Councils, acts as Chairman of Ma11dy l'ope says, "Ml inlernst lies in the courts." for "an individual of guests on Saturday night ap­ lege conlercnccs, and have taken ou~ demonstration~. showing thal the Court Committee and Head of the proached reality at the open Senate over part of the CG President's cor­ two fingers held near each other form General CotUt and is an ex officio ncetls a certain amount or protection meeting on Tuesday night. ll'Irs. respondence. Hathaway llousl' tru5- three spaces-thus one plus one member of the Academic Committee in the community." She wants faith Loubc Bradner, housemother of Tow­ tee, Sue Henretty. '60. staled that no equal three-and that identical col on Discipline. in the intentions and intelligence of er Courl, presented amendments to complaints concerning the book­ ors can be made to appear very dif· Ann Colman chose to- ruo for Chief the students to govern individual rul­ ings. tbe proposal as approved by the store's efficiency had been submitted ferent or vice versa. dC'pending on Justice because sl1c believes it to be She "bhl.'s a ~unp!ification of Sen­ Head of House Council. during the year. the background color. an office constructively woi-king with ate and believes that "most financial -Cuder the present form of the pro­ The question of student bursar or In education loo, he continued, the incHvidual and the house councils. business of other organizations should posal, guests would not be admitted identification Cllrds was referred lo we must differentiate between actual An individual's understanding of the he regulated somewhert else," to a Senate committee for further study. facts (those ·that one perceives) and honor system is, she feels, the prime to college houses after t\1'elve o'clock, keep from "gelling bogged down.• and would leave no later than 12:45. The committee will consider authori­ factual facts (those in books). "Orig­ requisite !or a college-wide system. zation of the cards by NSA or by inally education was invented for the A!>kcd why there existed campus She believes that house preside11t.:> A student would sign in when enter· could be integral members of Senate the College itself. Continued 011 Page Seven disinleresl in C. G., Ann replied, "I mg the dormitory to stay rather itself because they are closest to so· than when her guest leaYes. and the cial rulings or <tny group on campus. retention or the privilege by the Individual J ustice dormitory would be contingent upon Eliot Play Gets New Leading Man; Mury Stimpson believes the college the observance of the sign-out rules. now has "a basically sound court sy:r The possible extension of freshman tern." She supports a program ol llrivllcges under the new proposal, educational justice. "I am against the possibility of admitting guests Pro_ducer Barstow Turns to Acting automatic punishment of any sort." as late as 12:30, and the possibility Paul R. Barstow, lecturer in Speech of professional experience elsewhere. Yale ·school o! Drama. She believes that apathy existing on of signing in when guests leave will is and director of the Theatre. will pl<1y He began acting a~ a boy soprano Mr. Barstow worked as aclor·dircc­ campus towards C. C. functions be discussed at open House Council due to students' belief th:i.t acadeutie meetings during the week, The pro­ the part o! Sir Henry Ilarcourl­ in operettas, and did some dramatic lot· for !our summers at the Eastern Reilly in Barn's production of The work in college. Later he was Presi­ Slope Theatre at North Conway, studies arc their contribution to 1.he posal will reappear before Senate for sum of work o! tlle community and Cocktail Party Frida) and Saturday dent of the Princeton Community New Hampshire. He has done TV further action at next week's meet· that they are entitled to a certain nights. The change of role from Players, and acted and ~tudied at the work in New Haven and Boston. ing. amount of leisure time. She was a producer to actor was made neces­ freshman representative and mem­ Evaluations Spot Sen<1te sary by the withdrawal of John Wolf· 'l'hc Gray Book evaluations of last ber of the Sophomore Executive son, Harvard '60. who had been Committee. sil were reported ns thought-pro­ chosen as replacement for Earle W•k.in ~ methods of sustaining interest Egerton. in College regulations. Senate tabled Mr. Barstow prefers to teach and questions raised in the evaluations direct during the winter at Wellesley Can<lidates, Senior concerning Calendar Day rules and and to act and write during the sum­ additional senior privileges, due to mer. In this case he mad-e an excep­ Vice-President the new schedule and lack of con­ tion so that the show.
Recommended publications
  • ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
    ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious.
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Arthur Mitchell
    Finding Aid to The HistoryMakers ® Video Oral History with Arthur Mitchell Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Mitchell, Arthur, 1934-2018 Title: The HistoryMakers® Video Oral History Interview with Arthur Mitchell, Dates: October 5, 2016 Bulk Dates: 2016 Physical 9 uncompressed MOV digital video files (4:21:20). Description: Abstract: Dancer, choreographer, and artistic director Arthur Mitchell (1934 - 2018 ) was a principal dancer for the New York City Ballet for fifteen years. In 1969, he co-founded the Dance Theatre of Harlem, the first African American classical ballet company and school. Mitchell was interviewed by The HistoryMakers® on October 5, 2016, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_034 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Dancer, choreographer and artistic director Arthur Mitchell was born on March 27, 1934 in Harlem, New York to Arthur Mitchell, Sr. and Willie Hearns Mitchell. He attended the High School of Performing Arts in Manhattan. In addition to academics, Mitchell was a member of the New Dance Group, the Choreographers Workshop, Donald McKayle and Company, and High School of Performing Arts’ Repertory Dance Company. After graduating from high school in 1952, Mitchell received scholarships to attend the Dunham School and the School of American received scholarships to attend the Dunham School and the School of American Ballet. In 1954, Mitchell danced on Broadway in House of Flowers with Geoffrey Holder, Louis Johnson, Donald McKayle, Alvin Ailey and Pearl Bailey.
    [Show full text]
  • Thomson, Virgil (1896-1989) by Patricia Juliana Smith
    Thomson, Virgil (1896-1989) by Patricia Juliana Smith Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Virgil Thomson in 1947. Photograph by Carl van Critic and composer Virgil Thomson was a pioneer in creating a specifically American Vechten, June 4, 1947. Library of Congress form of classical music that is at once "serious" yet whimsically sardonic. He is best Prints and Photographs known as Gertrude Stein's collaborator in two operas, Four Saints in Three Acts (1934) Division. and The Mother of Us All (1947). The hymn melodies that shape the score of Four Saints are an echo of Thomson's earliest musical career, that of an organist in a Baptist church in Kansas City, Missouri, where he was born on November 25, 1896 into a tolerant, middle-class family. His mother especially encouraged his musical and artistic talents, which were obvious very early. Thomson joined the United States Army in 1917 and served during World War I. After the war, he studied music at Harvard University, where he discovered Tender Buttons (1914), Stein's playful and elaborately encoded poetic work of lesbian eroticism. He subsequently studied composition in Paris under Nadia Boulanger, the mentor of at least two generations of modern composers. In 1925 he finally met Stein, whose works he had begun to set to music. In Paris, he also met Jean Cocteau, Igor Stravinsky, and Erik Satie, the latter of whom influenced his music greatly. There he also cemented a relationship with painter Maurice Grosser, who was to become his life partner and frequent collaborator (for example, Grosser directed Four Saints in Three Acts and devised the scenario for The Mother of Us All).
    [Show full text]
  • The Boston Symphony Orchestra Seiji Ozawa, Music Director & Conductor Peter Serkin, Piano
    PETER LIEBERSON New World Records 80325 Piano Concerto The Boston Symphony Orchestra Seiji Ozawa, music director & conductor Peter Serkin, piano Peter Lieberson was born in New York City on October 25, 1946; he lives in Newton Center, Massachusetts, and is currently teaching at Harvard. His Piano Concerto is one of twelve works commissioned by the Boston Symphony Orchestra for its centennial in 1981. From the beginning the piano solo part was intended for Peter Serkin, who gave the first performance with Seiji Ozawa and the Boston Symphony Orchestra on April 21, 1983, in Symphony Hall, Boston. The youngest of the 12 composers commissioned by the Boston Symphony Orchestra for its centennial, Peter Lieberson grew up in a family where music was ubiquitous. Both his parents were important figures in the artistic world. His father, Goddard Lieberson, himself a trained composer, was perhaps best known as the most influential record-company executive in the artistic world. Peter's mother, under the stage name Vera Zorina, was a ballerina with the Ballets Russes de Monte Carlo and later with George Balanchine, before she became known as a specialist in spoken narration. Through a job at New York's classical music radio station WNCN, Lieberson came to know Aaron Copland and Virgil Thomson. But the crucial connection came when Copland invited Milton Babbitt to do a program. Until that time the major influence on Lieberson's music was Stravinsky. Now he began to study informally with Babbitt. At Babbitt's suggestion Lieberson chose Columbia when he decided to pursue graduate studies; there he worked with Charles Wuorinen (the third of his three principal teachers would be Donald Martino, with whom he studied at Brandeis University).
    [Show full text]
  • ARS Audiotape Collection ARS.0070
    http://oac.cdlib.org/findaid/ark:/13030/c8f769x2 No online items Guide to the ARS Audiotape Collection ARS.0070 Franz Kunst Archive of Recorded Sound 2012 [email protected] URL: http://library.stanford.edu/ars Guide to the ARS Audiotape ARS.0070 1 Collection ARS.0070 Language of Material: Multiple languages Contributing Institution: Archive of Recorded Sound Title: ARS Audiotape Collection Identifier/Call Number: ARS.0070 Physical Description: 15 box(es): 419 open reel tapes, 15 audiocassettes, 60 videocassettes Date (inclusive): 1900-1991 Stanford Archive of Recorded Sound Stanford University Libraries Stanford, California 94305-3076 Material Specific Details: 3" reels-5 4" reels-1 5" reels-37 7" reels-334 10.5" reels-40 1/2" tapes on 10" reels - 4 audiocassettes-15 video reels-2 videocassette (VHS)- 59 videocassette (Beta) - 1 Abstract: Miscellaneous tape recordings, mostly small donations, that span the history of the Archive of Recorded Sound. Access Open for research; material must be requested at least two business days in advance of intended use. Contact the Archive for assistance. Publication Rights Property rights reside with repository. Publication and reproduction rights reside with the creators or their heirs. To obtain permission to publish or reproduce, please contact the Head Librarian of the Archive of Recorded Sound. Preferred Citation ARS Audio Miscellany, ARS-0070. Courtesy of the Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, Calif. Sponsor This finding aid was produced with generous financial support from the National Historical Publications and Records Commission. Arrangement Most recordings are described under the series marked "Miscellaneous" according to format and reel size.
    [Show full text]
  • A Study of Music As an Integral Part
    A Study of Music as an Integral Part of the Spoken Drama in the American Professional Theatre: 1930-1955 By MAY ELIZABETH BURTON A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA August, 1956 PREFACE This is a study of why and how music is integrated with spoken drama in the contemporary American professional theatre. Very little has been written on the subject, so that knowledge of actual practices is limited to those people who are closely associated with commercial theatre-- composers, producers, playwrights, and musicians. There- fore, a summation and analysis of these practices will contribute to the existing body of knowledge about the contemporary American theatre. It is important that a study of the 1930-1955 period be made while it is still contemporary, since analysis at a later date would be hampered by a scarcity of detailed production records and the tendency not to copyright and publish theatre scores. Consequently, any accurate data about the status of music in our theatre must be gathered and re- corded while the people responsible for music integration are available for reference and correspondence. Historically, the period from 1930 to 1^55 is important because it has been marked by numerous fluc- tuations both in society and in the theatre. There are evidences of the theatre's ability to serve as a barometer of social and economic conditions. A comprehension of the ii degree and manner in which music has been a part of the theatre not only will provide a better understanding of the relationship between our specific theatre idiom and society, but suggests the degree to which it differs from that fostered by previous theatre cultures.
    [Show full text]
  • Read Press Release
    FOR IMMEDIATE RELEASE Contact: Roger Cunningham, [email protected] , 212-594-7501 Encompass New Opera Theatre presents the World Premiere of Angel of the Amazon May 6 – 22, 2011 At Baryshnikov Arts Center Encompass New Opera Theatre (Nancy Rhodes, Artistic Director and Mara Waldman, Music Director) presents the World Premiere of Angel of the Amazon , a new music drama with libretto and music by Evan Mack at The Jerome Robbins Theater at Baryshnikov Arts Center, 450 West 37 th Street, NYC. Performances begin May 6 and run through May 22. This compelling new work is based on the true story of Sister Dorothy Stang (1931-2005), an American born member of the Sisters of Notre Dame de Namur order. In 2005, at the age of 73, she was brutally murdered by assassins hired by the owner of a logging company, who felt her passion for the Earth and all of its gifts to be a threat. Angel of the Amazon depicts her life’s work and the events that set her on a path to martyrdom. Sister Dorothy began her mission in the Brazilian rainforest in the early 1970s, eventually becoming a Brazilian citizen. Her life’s work was helping the indigenous farmers make a living by cultivating their land and extracting forest products with minimum impact on the ecosystem. Dot, as she was called by her family, friends, and most locals in Brazil, was extremely outspoken in her efforts on behalf of the poor and the environment. She is often pictured wearing a t-shirt with the slogan A Morte da floresta é o fim da nossa vida, which is Portuguese for “The death of the forest is the end of our life.” It was this outspokenness that brought her into conflict with local landowners and businessmen and eventually resulted in her assassination.
    [Show full text]
  • JAMESTOWN CONCERTO Time: AMERICAN MUSIC for 72:11 CELLO and ORCHESTRA MRCNMSCFRCLOADORCHESTRA and CELLO for MUSIC AMERICAN Disc Made in Canada
    CMYK NAXOS Playing JAMESTOWN CONCERTO Time: AMERICAN MUSIC FOR 72:11 CELLO AND ORCHESTRA AMERICAN MUSIC FOR CELLO AND ORCHESTRA Disc made in Canada. Printed and assembled USA. this compact disc prohibited. reserved. Unauthorised public performance, broadcasting and copying of All rights in this sound recording, artwork, texts and translations 8.559344 WILLIAM PERRY (b. 1930): AMERICAN CLASSICS Jamestown Concerto for Cello and Orchestra* 24:41 This recording presents three 1 London 1606. The Virginia Company 4:12 important yet infrequently heard 2 Settlements Along the River 4:56 3 The Long Winters 4:40 American cello works. It is the first 4 Pocahontas in London 5:45 modern recording of William 5 Jamestown: Four Hundred Years On 5:07 Schuman’s A Song of Orpheus; the WILLIAM SCHUMAN (1910-1992): Virgil Thomson Concerto for Violoncello and Orchestra in its original ൿ 6 Poem: ‘Orpheus With His Lute’ full orchestration has not been & by William Shakespeare Ꭿ (read by Jane Alexander) 0:52 recorded since the 1950s; and William 2008 Naxos Rights International Ltd. 7 A Song of Orpheus – Perry’s Jamestown Concerto is Fantasy for Cello and Orchestra 23:04 receiving its world première recording. All three composers worked extensively VIRGIL THOMSON (1896-1989): in art song, opera or musical theatre, Concerto for Violoncello and Orchestra 23:33 and their concertos, while technically 8 Rider on the Plains 7:59 demanding, emphasize the lyric 9 Variations on a Southern Hymn 9:09 0 Children’s Games 6:25 qualities of the cello, the instrument that most closely identifies with the ORLD REMIÈRE ECORDING *W P R human voice.
    [Show full text]
  • Dance History Session 9 Katherine Dunham
    Katherine Dunham Timeline 1909 A studio photograph of Katherine Dunham in the 1920s . Katherine Mary Dunham is born on 22 June 1909 in a Chicago hospital. Her father, Albert Millard Dunham, is black; her mother, Fanny June Dunham, is a woman of French-Canadian and American Indian heritage. Shortly after her birth, her parents take the infant Katherine to their home in Glen Ellyn, Illinois, a village about fifteen miles west of Chicago. She spends her early years there in the company of her brother, Albert Jr., who is six years older than she. They become devoted to each other. 1913 Fanny June Dunham, twenty years older than her husband, dies. Katherine and Albert Jr. are sent to live with their father's sister, Lulu, on the South Side of Chicago. 1915 Albert Sr. marries Annette Poindexter, and the children go to live with their father and stepmother in Joliet, Illinois. Their stepmother becomes a benevolent influence, but their father is a strict disciplinarian who lays down hard rules of behavior and dispenses physical punishment for infractions. 1921 Dunham's short story, "Come Back to Arizona," written when she was twelve years old, appears in volume 2 (August 1921) of The Brownies' Book, a periodical edited by W.E.B. Du Bois. 1922 In high school, Katherine Dunham joins the Terpsichorean Club and begins to learn a kind of free-style modern dance based on ideas of Jaques-Dalcroze and Rudolf von Laban. At fourteen, to help raise money for her church, she organizes a "cabaret party." She is the producer, director, and star of the entertainment.
    [Show full text]
  • Marian Had Opened the Door …Ikept It from Closing Again.«
    126 Music, Race, and Culture penitentiary in Huntsville,Texas.While asmall audienceattendedthe 1938 performance broadcastfromaprisonadministrator’s office,bythe time of thefourthanniversarybroad- castin1944, the›free-world‹whites-only audiencehad swelledto1.280.Prisonofficials insisted that themusical educationofinmates hadasalutaryeffectontheir vocational training in preparationfor theiremployment in thewar industries.Myresearchsuggests that inmatesviewedthe airshows less as an expressionofpatriotism, than as avehicle for earlyrelease from asystemthatwas farfromideal. Elizabeth Amelia Hadley (Clinton, NY) »Marian Had Opened the Door …IKept it from Closing Again.« »I am here andyou will know that Iamthe best andwillhearme[…].The colorof my skin or thekinkofmyhairorthe spread of my mouthhas nothingtodowith what you arelistening to.« Leontyne Price, Time 14th January19851 Leontyne Price’sascendancytoprimadonna assoluta wasframedbythe CivilRights,Black Power,and BlackArts Movements.Althoughher name maybeabsentfromthe rosters of activism in either movement, shewas lyricallyand majestically openingdoors to Opera houses both nationallyand internationally; enablingother peopleofcolortoenter.Price’s wordsand deedsmanifestadeliberatecommitmenttoinspire anew generation of vocal- ists to enterthe gilt-encrusted, hallowedhallsofopera. Mary Violet Leontyne Pricewas born andraisedinsegregatedLaurel, Mississippi, where peoplewere proud of theirBlack heritage.Price waspopularamong Blackand WhitepeopleinLaurel, where both communitiesnurtured herdesiretopursueanopera
    [Show full text]
  • Leonard Bernstein Professional Breakthrough Came with Exceptional Force and Visibility, Establishing Him As a Stunning New Talent
    which ultimately applied to Bernstein’s music in all genres. Bernstein’s Leonard Bernstein professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first performance with the composer conducting the Pittsburgh Symphony in January 1944. "Lamentation," its final movement, features a mezzo-soprano delivering Hebrew texts from the Book of Lamentations. In April of that year, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by the young Jerome Robbins. Leonard Bernstein photo © Susech Batah, Berlin (DG) In December, Bernstein premiered the Broadway musical On the Town, another collaboration with Robbins. While the conception of these two dramatic works was Leonard Bernstein—celebrated as one of the most influential musicians of the closely intertwined, their plots, music, and choreography were quite different. 20th century—ushered in an era of major cultural and technological transition. He Fancy Free featured three sailors on shore leave in a bar, showing off their led the way in advocating an open attitude about what constituted "good" music, physical agility as they competed for the attention of two women. The men were actively bridging the gap between classical music, Broadway musicals, jazz, and tightly bound to one another.
    [Show full text]
  • Reshaping American Music: the Quotation of Shape-Note Hymns by Twentieth-Century Composers
    RESHAPING AMERICAN MUSIC: THE QUOTATION OF SHAPE-NOTE HYMNS BY TWENTIETH-CENTURY COMPOSERS by Joanna Ruth Smolko B.A. Music, Covenant College, 2000 M.M. Music Theory & Composition, University of Georgia, 2002 Submitted to the Graduate Faculty of The Faculty of Arts and Science in partial fulfillment of the requirements for the degree of Ph.D. in Historical Musicology University of Pittsburgh 2009 UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Joanna Ruth Smolko It was defended on March 27, 2009 and approved by James P. Cassaro, Adjunct Assistant Professor, Department of Music Mary S. Lewis, Professor, Department of Music Alan Shockley, Assistant Professor, Cole Conservatory of Music Philip E. Smith, Associate Professor, Department of English Dissertation Advisor: Deane L. Root, Professor, Department of Music ii Copyright © by Joanna Ruth Smolko 2009 iii RESHAPING AMERICAN MUSIC: THE QUOTATION OF SHAPE-NOTE HYMNS BY TWENTIETH-CENTURY COMPOSERS Joanna Ruth Smolko, PhD University of Pittsburgh, 2009 Throughout the twentieth century, American composers have quoted nineteenth-century shape- note hymns in their concert works, including instrumental and vocal works and film scores. When referenced in other works the hymns become lenses into the shifting web of American musical and national identity. This study reveals these complex interactions using cultural and musical analyses of six compositions from the 1930s to the present as case studies. The works presented are Virgil Thomson’s film score to The River (1937), Aaron Copland’s arrangement of “Zion’s Walls” (1952), Samuel Jones’s symphonic poem Let Us Now Praise Famous Men (1974), Alice Parker’s opera Singers Glen (1978), William Duckworth’s choral work Southern Harmony and Musical Companion (1980-81), and the score compiled by T Bone Burnett for the film Cold Mountain (2003).
    [Show full text]