In Unexpected Places
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Native American Elements in Piano Repertoire by the Indianist And
NATIVE AMERICAN ELEMENTS IN PIANO REPERTOIRE BY THE INDIANIST AND PRESENT-DAY NATIVE AMERICAN COMPOSERS Lisa Cheryl Thomas, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2010 APPROVED: Adam Wodnicki, Major Professor Steven Friedson, Minor Professor Joseph Banowetz, Committee Member Jesse Eschbach, Chair of the Division of Keyboard Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Michael Monticino, Dean of the Robert B. Toulouse School of Graduate Studies Thomas, Lisa Cheryl. Native American Elements in Piano Repertoire by the Indianist and Present-Day Native American Composers. Doctor of Musical Arts (Performance), May 2010, 78 pp., 25 musical examples, 6 illustrations, references, 66 titles. My paper defines and analyzes the use of Native American elements in classical piano repertoire that has been composed based on Native American tribal melodies, rhythms, and motifs. First, a historical background and survey of scholarly transcriptions of many tribal melodies, in chapter 1, explains the interest generated in American indigenous music by music scholars and composers. Chapter 2 defines and illustrates prominent Native American musical elements. Chapter 3 outlines the timing of seven factors that led to the beginning of a truly American concert idiom, music based on its own indigenous folk material. Chapter 4 analyzes examples of Native American inspired piano repertoire by the “Indianist” composers between 1890-1920 and other composers known primarily as “mainstream” composers. Chapter 5 proves that the interest in Native American elements as compositional material did not die out with the end of the “Indianist” movement around 1920, but has enjoyed a new creative activity in the area called “Classical Native” by current day Native American composers. -
UNIVERSITY of CINCINNATI August 2005 Stephanie Bruning Doctor Of
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ The Indian Character Piece for Solo Piano (ca. 1890–1920): A Historical Review of Composers and Their Works D.M.A. Document submitted to the College-Conservatory of Music, University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance August 2005 by Stephanie Bruning B.M. Drake University, Des Moines, IA, 1999 M.M. College-Conservatory of Music, University of Cincinnati, 2001 1844 Foxdale Court Crofton, MD 21114 410-721-0272 [email protected] ABSTRACT The Indianist Movement is a title many music historians use to define the surge of compositions related to or based on the music of Native Americans that took place from around 1890 to 1920. Hundreds of compositions written during this time incorporated various aspects of Indian folklore and music into Western art music. This movement resulted from many factors in our nation’s political and social history as well as a quest for a compositional voice that was uniquely American. At the same time, a wave of ethnologists began researching and studying Native Americans in an effort to document their culture. In music, the character piece was a very successful genre for composers to express themselves. It became a natural genre for composers of the Indianist Movement to explore for portraying musical themes and folklore of Native-American tribes. -
Songs of Earth, Water, Fire And
Songs of Earth, Water, Fire and Sky MUSIC OF: SAN JUAN PUEBLO, SENECA, NORTHERN ARAPAHO, NORTHERN PLAINS, CREEK, YUROK, NAVAJO, CHEROKEE, SOUTHERN PLAINS By Charlotte Heth INTRODUCTION The first Americans, the American Indians, have for centuries valued music as an integral part of their lives. Creation narratives, migration stories, magic formulas, and ancient ceremonial practices tell of music. Archaeologists have found Indian musical instruments and pictographs of singing and dancing from as early as A.D. 600 and from areas as far apart as the mounds of the Southeast and the cliff dwellings of the Southwest (Brown, 1971, 1974; Howard, 1968). Styles differ within tribal groups and among individuals. The variety of the music is infinite. The value of this music to the peoples was largely overlooked by most early writers: the travelers, the missionaries, and the soldiers. A young George Washington in 1748 recorded his impressions of an Indian dance in his diary in typical eighteenth-century fashion: There manner of Dauncing is as follows Viz They clear a Large Circle and make a Great Fire in y. middle then seats themselves around it y. Speaker makes a grand speech telling them in what Manner they are to Daunce after he has finished y. best Dauncer jumps up as one awaked out of a Sleep and runs and Jumps about y. Ring in a most comical Manner he is followed by y. Rest then begins there Musicians to Play ye Musick is a Pot half [full] of Water with a Deerskin streched over it as tight as it can and a goard with some Shott in it to Rattle and a Piece of an horses Tail tied to it to make it look fine y. -
November 1917) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 11-1-1917 Volume 35, Number 11 (November 1917) 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 35, Number 11 (November 1917)." , (1917). https://digitalcommons.gardner-webb.edu/etude/641 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]. — NO I EMBER 1917 THE ETUDE SMITH lliTHiiS9 S.B. COUGH DROPS \bice Insurance The best kind of insurance is that which helps to pre¬ vent. Singers and public speakers have used Smith Brothers’ for the last 70 years. They help coughs and colds. They keep the throat clear and avoid huskiness. They cut the phlegm and take away that dangerous David and King Saul tickle that worries the vocalist. Keep a box of Smith Brothers’ with you always. Use them freely in cold, damp weather. Put one in your mouth at bed- !o0seeTwhhmthe harp he could dfspeT th^king^s bad dreams. The story of how he succeeded is one we all know. -
LINER NOTES Recorded Anthology of American Music, Inc
BEACH, FOOTE, FARWELL, OREM New World Records 80542 The "Indianist" Movement in American Music by Gilbert Chase The "Indianist" movement in American musical composition that flourished from the 1880s to the 1920s had its antecedents in nineteenth-century Romanticism, with its cult of “the noble savage" nourished by such writers as Chateaubriand, James Fenimore Cooper, and Longfellow, whose Hiawatha was like a magnet for many musicians. On the stage, the famous actor Edwin Forrest starred in the drama Metamora (1828) as "the noble Indian chief," who leads his warriors in a desperate struggle for freedom—"Our Lands! Our Nation's Freedom!—Or the Grave." Romantic writers tended to identify the Indian with the grandeur of Nature. Chateaubriand, a Frenchman, in his novel of the "noble savage" Atala gushed on "the soul's delight to lose itself amidst the wild sublimities of Nature." Such writers often lost their heads but seldom risked their lives. The American wilderness, viewed as untamed, primitive, exotic, lured not only explorers and adventurers hut also scientists, artists, poets, novelists—and at least one musician who came to know at first hand "the magnificent wilds of Kentucky" about which Chateaubriand rhapsodized. This venturesome musician was Anthony Philip Heinrich (1781–1861), a native of Bohemia who emigrated to America in 1810. From 1817 to 1823 he lived in and around Lexington, Kentucky, calling himself "the Wildwood Troubador." According to a contemporary account: Heinrich passed several years of his life among the Indians that once inhabited Kentucky, and many of his compositions refer to these aboriginal companions. He is a species of musical Catlin, painting his dusky friends on the music staff instead of on the canvas, and composing laments, symphonies, dirges, and on the most intensely Indian subjects. -
Volume 43, Number 11 (November 1925)
Gardner-Webb University Digital Commons @ Gardner-Webb University The Etude Magazine: 1883-1957 John R. Dover Memorial Library 11-1-1925 Volume 43, Number 11 (November 1925) 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 43, Number 11 (November 1925)." , (1925). https://digitalcommons.gardner-webb.edu/etude/729 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 Etude Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. MVSIC MAGAZINE Price 2.5 Cexv,-ts NOVEMBER 192.5 ^ 2..00 a^Year y F THAIIE Italian Piano Study, Maria Carreras; Amateur Composers, BorowsKi; Community CBoruses, Arthur Nevin; Mastering Nerves in Playinif, Ceefson I THE ETUDE THE ETUDE FEBRUARY 1925 Page 77 Page 76 FEBRUARY 1925 “The Best Piano EARN A DIPLOMA Method I Know’ OR Ignace Jan Paderewski Teacher's Certificate Ignace Jan Paderewski, world-famed pianist-statesman, FROM after a careful examination of the master work of Dr. William Mason wrote— A Recognized School “Your ‘Touch and Technic’ is the best piano Do you realize that there are hundreds of openings for trained musicians and with the present method which I know and I congratulate you vigorous movement for developing Public School Music the demand for organizers, teachers and leaders on being the author of so masterly a work.” is beyond the supply of qualified musicians? Everywhere there is a demand for trained teachers. -
2021 Martinez Vega Cristian Damir Thesis.Pdf (2.043
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE SOUNDS OF NATIVE OKLAHOMA: THE SIGNIFICANCE OF FRED CARDIN, JACK F. KILPATRICK, AND TESSIE MOBLEY FOR THE MUSICAL CULTURE OF AMERICA A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By CRISTIAN DAMIR MARTINEZ VEGA Norman, Oklahoma 2021 SOUNDS OF NATIVE OKLAHOMA: THE SIGNIFICANCE OF FRED CARDIN, JACK F. KILPATRICK, AND TESSIE MOBLEY FOR THE MUSICAL CULTURE OF AMERICA A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY Dr. Sanna Pederson, Chair Dr. Michael Lee Dr. Jake Johnson © Copyright by CRISTIAN DAMIR MARTINEZ VEGA 2021 All Rights Reserved. Acknowledgements Deadlines have a tangible influence on our academic instincts. This project started as a short research assignment, advanced to a grant request, and ended with this thesis. All these facets occurred in a brief amount of time, bringing a lot of momentum to the project. This experience was enhanced by the support I received from academics at the University of Oklahoma. Thank you to Dr. Raphael Folsom, Dr. Mathew Stock, and Dr. Christina Giacona for their assistance with this project. Dr Jake Johnson merits special praise for his generous advising of my work and for joining my defense committee at the eleventh hour. I am also indebted to the rest of my committee, whose inspiration and motivation far surpassed those of most professors. Dr. Michael Lee is an excellent narrator, enthralling his classrooms with subjects I had never considered. I am also eternally grateful to Dr. Sanna Pederson for always treating my oddly peculiar research plans with deliberation, respect, and intellectual wisdom. -
Thurlow Lieurance Collection
Thurlow Lieurance Collection Collection Summary Title: Thurlow Lieurance Collection Call Number: MS 91-04 Size: 29.0 linear feet Acquisition: Donated by Wichita State University’s School of Music Processed by: MKW, 10- 4-1991; JEF, 7-7-1999; LMA and LMM, 4-17-13; JZ, 6-2016 Restrictions: None Literary Rights Literary rights were not granted to Wichita State University. When permission is granted to examine manuscripts, it is not an authorization to publish them. Manuscripts cannot be used for publication without regard for common law literary rights, copyright laws and the laws of libel. It is the responsibility of the researcher and his/her publisher to obtain permission to publish. Scholars and students who eventually plan to have their work published are urged to make inquiry regarding overall restrictions on publication before initial research. Content Note Thurlow Lieurance Collection contains manuscripts and printed versions of Lieurance’s musical compositions, concert programs, correspondence, photographs, and newspaper clippings concerning Thurlow Lieurance and Edna Woolley Lieurance. Biography Thurlow Lieurance was born near Oskaloosa, Iowa on March 21, 1878. His wife, Edna Woolley Lieurance, was born in Lincoln, Nebraska on August 23, 1892. Thurlow Lieurance and Edna Woolley Lieurance appeared together in concert from 1918 to 1927. During this time, in 1924, Thurlow graduated with a Doctor of Music degree from the College of Music in Cincinnati. After they ended their concert appearances, Thurlow and Edna settled in Wichita for the next 20 years. From 1927 to 1947, Thurlow and Edna were faculty members and connected to the University of Wichita. Many honors were given to this American composer. -
An Annotated Survey of the Indianist
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 An Annotated Survey of the Indianist Movement Represented by Arthur Farwell and Charles Wakefield Cadman: A Performance Guide to 20th Century American Art Songs Based on American Indian Melodies Daniel F. Collins Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN ANNOTATED SURVEY OF THE INDIANIST MOVEMENT REPRESENTED BY ARTHUR FARWELL AND CHARLES WAKEFIELD CADMAN: A PERFORMANCE GUIDE TO 20th CENTURY AMERICAN ART SONGS BASED ON AMERICAN INDIAN MELODIES By DANIEL F. COLLINS A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2014 Daniel F. Collins defended this treatise on November 1, 2014. The members of the supervisory committee were: Shirley Close Professor Directing Treatise Michael Buchler University Representative Timothy Hoekman Committee Member Andre Thomas Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii TABLE OF CONTENTS List of Tables ...................................................................................................................................v List of Musical Examples ............................................................................................................. -
February 1922) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 2-1-1922 Volume 40, Number 02 (February 1922) 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 40, Number 02 (February 1922)." , (1922). https://digitalcommons.gardner-webb.edu/etude/687 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]. ETUDE MUSIC MAGAZINE FEBRUARY 1922 Page 73 THE ETUDE New and Artistic Vocal :: SECULAR SONGS :: Offerings Four Albums of Song for Marked Concert, Individuality Home and Albums- Church Use The Secular Songs are of PUBLICATIONS THAT HAVE BEEN RECEIVED WITH the Better Popular Type, All Being Rich in Melody. It is ENTHUSIASM BY DISCRIMINATING Songs of - the Best Singe.--- CONCERT SINGERS Encore Purposes or Lighter Numbers upon the Pro- Seven Songs from clarity of tone of his talking machine records. Gustav Kogel, one of the best known of Fear of the sea, has, according to reports, tru of eighty musicians announces a series 'Way Down South European orchestral conductors, who visited prevented him from coming. -
AMRC Journal Volume 23
American Music Research Center Journal American Music Center Research Journal 23 • 2014 Volume Volume 23 Volume 2014 American Music Research Center Journal Volume 23 • 2014 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder The American Music Research Center Thomas L. Riis, Director Laurie J. Sampsel, Director, Waltz Music Library Eric J. Harbeson, Curator Sister Dominic Ray, O. P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Robert S. Shay, Dean, College of Music Eric Hansen, Editorial Assistant Editorial Board C. F. Alan Cass Portia Maultsby Susan Cook Tom C. Owens Robert Fink Katherine Preston William Kearns Laurie Sampsel Karl Kroeger Ann Sears Paul Laird Jessica Sternfeld Victoria Lindsay Levine Joanne Swenson-Eldridge Kip Lornell Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25 per issue ($28 outside the U.S. and Canada) Please address all inquiries to Eric Hansen, AMRC, 288 UCB, University of Colorado, Boulder, CO 80309-0288. Email: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2014 by Board of Regents of the University of Colorado Information for Authors The American Music Research Center Journal is dedicated to publishing arti- cles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and proposals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, Uni ver- sity of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. -
Selected Non-Indianist Works of Charles Sanford Skilton: The
Selected Non-Indianist Works of Charles Sanford Skilton: The Witch’s Daughter – A Cantata for Soprano and Baritone Soli, Chorus and Orchestra (1918) and Electra – Music of the Electra of Sophocles, Composed for Women’s Chorus and Orchestra (1920) by Evelyn Adele Garren Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Music. ________________________________ Dr. Paul Laird, Chair ________________________________ Dr. Alicia Levin ________________________________ Dr. Bryan Kip Haaheim Date Defended: 23 January 2013 The Thesis Committee for Evelyn Adele Garren certifies that this is the approved version of the following thesis: Selected Non-Indianist Works of Charles Sanford Skilton: The Witch’s Daughter – A Cantata for Soprano and Baritone Soli, Chorus and Orchestra (1918) and Electra – Music of the Electra of Sophocles, Composed for Women’s Chorus and Orchestra (1920) ________________________________ Dr. Paul Laird, Chair Date approved: 23 January 2013 ii Abstract Charles Sanford Skilton (1868-1941) is widely remembered as an exponent of the Indianist Movement in musical composition, which was important from about 1880 to 1920. Little investigation has been completed on his works outside of his Indianist interest, leaving many gaps in our knowledge of his music. While compiling materials for this thesis, it was observed that Skilton, now nearly forgotten as a serious art music composer, was well received as a composer, theorist, and pedagogue during his life. Much of his extant works are comparable to Indianist composers such as Arthur Farwell and Charles Wakefield Cadman. Skilton was known for more than just his Indianist works; his legacy as an American music pioneer is quite worthy of acknowledgement.