March 2015 Vol
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Emily Dickinson in Song
1 Emily Dickinson in Song A Discography, 1925-2019 Compiled by Georgiana Strickland 2 Copyright © 2019 by Georgiana W. Strickland All rights reserved 3 What would the Dower be Had I the Art to stun myself With Bolts of Melody! Emily Dickinson 4 Contents Preface 5 Introduction 7 I. Recordings with Vocal Works by a Single Composer 9 Alphabetical by composer II. Compilations: Recordings with Vocal Works by Multiple Composers 54 Alphabetical by record title III. Recordings with Non-Vocal Works 72 Alphabetical by composer or record title IV: Recordings with Works in Miscellaneous Formats 76 Alphabetical by composer or record title Sources 81 Acknowledgments 83 5 Preface The American poet Emily Dickinson (1830-1886), unknown in her lifetime, is today revered by poets and poetry lovers throughout the world, and her revolutionary poetic style has been widely influential. Yet her equally wide influence on the world of music was largely unrecognized until 1992, when the late Carlton Lowenberg published his groundbreaking study Musicians Wrestle Everywhere: Emily Dickinson and Music (Fallen Leaf Press), an examination of Dickinson's involvement in the music of her time, and a "detailed inventory" of 1,615 musical settings of her poems. The result is a survey of an important segment of twentieth-century music. In the years since Lowenberg's inventory appeared, the number of Dickinson settings is estimated to have more than doubled, and a large number of them have been performed and recorded. One critic has described Dickinson as "the darling of modern composers."1 The intriguing question of why this should be so has been answered in many ways by composers and others. -
Commencement 2001-2005
THE JOHNS HOPKINS UNIVERSITY TWO THOUSAND TWO COMMENCEMENT Conferring of Degrees at the Close of the 126th Academic Year Class of 2002 May 23, 2002 9:15 a.m. —— — —— 67 — — ———— — Candidates Seating Stage 8 11 10 12 13 14 15 16 17 19 18 I Doctors of Philosophy and 2 Doctors of Philosophy Arts and Sciences and Doctors of Medicine Medicine Engineering 3 Doctors of Philosophy, Doctors of Public Health, 4 Doctors of Philosophy Advanced International and Doctors of Science Public Health Studies 5 Masters Medicine 6 Doctors of Philosophy—Nursing 9 Masters Public Health 7 Doctors of Musical Arts and Artist Diplomas Peabody I I Certificates of Advanced Graduate Study and Masters Professional Studies in Business 8 Doctors of Education Professional Studies in and Education Business and Education 1 3 Bachelors Professional Studies in Business 1 Masters Arts and Sciences and Education 1 2 Masters and Certificates Engineering 1 5 Bachelors Engineering 14 Masters and Bachelors Nursing 19 Bachelors (A-F) Arts and Sciences 1 Masters, Certificates, and Bachelors Peabody 1 Masters Advanced International Studies 18 Bachelors (G-Z) Arts and Sciences Contents Order of Procession 1 Order of Events 2 Divisional Diploma Ceremonies Information 6 Johns Hopkins Society of Scholars 7 Honorary Degree Citations 11 Academic Regalia 14 Awards 16 Honor Societies 22 Honors 25 Candidates for Degrees 30 wmQg&m<si$5m/:: Please note that while all degrees are conferred, only doctoral graduates process across the stage. Though taking photos from your seats during the ceremonj is not prohibited, we request that guests respect each other's comfort and enjoyment by not standing and blocking other people's views. -
Innovation and Reform of the Hammered Dulcimer Yangqinin Contemporary China
UNIVERSITY OF HAWAII LIBRARY. INNOVATION AND REFORM OF THE HAMMERED DULCIMER YANGQININ CONTEMPORARY CHINA A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC AUGUST 2007 By Pui-Sze Priscilla Tse Thesis Committee: Frederick Lau, Chairperson Ricardo D. Trimillos C. Fred Blake • .. ~- -, _ .... _ •• _-- - ~-'"'~~- < .1 We certify that we have read this thesis and that, in our opinion, it is satisfactory in scope and quality as a thesis for the degree of Master of Arts in Music. THESIS COMMITTEE Chairperson HAWN CBS .H3 nO ' 7~2'1 1\ ACKNOWLEDGEMENTS I am grateful to the AsialPacific Ethnomusicology Fellowship and the Arts and Sciences Advisory Council from the University of Hawai'i at Manoa for their generous support for my graduate study and fieldwork carried out in China and Hong Kong in summer 2006. This study would not have happened without the generous help of my informants in both formal and informal interviews. They include Bian Yu, Fu Bing, Oui Xiii, Huang Jinpei, Kong Qinyan, Bryan Lai, Xiong Junjie, Xu Xuedong, Yu Qiwei, Zhang Oaoxiang, Zhang Shicheng, and Zhou Hui. Although I am not able to name them individually, I am also grateful to the musicians I met in the amateur music groups in Shanghai and Canton. My special thanks go to my yangqin teachers Miss Yu Mei-lai, Professor Liu Yuening, and Professor Xiang Zuhua, who nurtured me to be ayangqin performer by not only teaching me the performing techniques, but also by providing me with the fundamental knowledge of the instrument and its music that have contributed to this thesis. -
A Performance and Pedagogical Guide to the Piano Music by Makiko Kinoshita a Dissertation Submitted to the Graduate School in Pa
A PERFORMANCE AND PEDAGOGICAL GUIDE TO THE PIANO MUSIC BY MAKIKO KINOSHITA A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS IN MUSIC BY YUKA NAKAYAMA DISSERTATION ADVISORS: DR. RAY KILBURN AND DR. HEATHER PLATT BALL STATE UNIVERSITY MUNCIE, INDIANA MAY, 2011 ACKNOWLEDGEMENTS I am indebted to many who supported this project. I would especially like to acknowledge the encouragement of Dr. Ray Kilburn, who gave me piano lessons, continuous support and advice for helping me to better understand and interpret the music. I am also extremely grateful to Dr. Heather Platt, who guided me through the dissertation writing process, and Dr. Michael Oravitz, who helped with the analysis of the music. Further thanks are due to Makiko Kinoshita, the composer of this project, who helped me collect all of her scores and agreed to be interviewed. My sincere thanks are due to my friends, Laura Dallman, Andrew Ayers, and Peter John. Laura has assisted with the editing and proofreading process of this document throughout its many stages, giving me her time and critical writing skills, for which I am very grateful. Andy has assisted with the recording and editing process, and he has been very supportive and cooperative throughout the long process of recording and editing. He always created a most comfortable recording environment in which I could solely focus on my playing and sound. Peter helped me by designing the CD cover and giving me many interesting ideas in my playing, as well as proofreading and correcting my document. -
An Annotated Bibliography of Symphonies for Wind Band
An Annotated Bibliography of Symphonies for Wind Band by Andrew Donald Pease A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved March 2015 by the Graduate Supervisory Committee: Gary W. Hill, Chair Wayne Bailey William Reber Rodney Rogers Catherine Saucier ARIZONA STATE UNIVERSITY May 2015 ABSTRACT This study catalogues symphonies for wind band from the origin of the genre in the late eighteenth century through 2014. Wind bands include any mixed wind group of eight or more players. Works using the word “symphony” or its derivatives in the title are included in the study. A total of 1342 works that fit these criteria were identified. An annotated bibliography (Appendix A) includes detailed information about 695 of these works. Such information was not available for an additional 621 wind band symphonies; consequently, these works are listed in a second appendix that includes a list of sources for each work so that future researchers might investigate them further. The final appendix lists 26 wind band symphonies that are no longer available based on the author’s current sources. The titles included in this study were found by examining many repertoire resources for the wind band, including previous studies of wind band symphonies and more comprehensive repertoire resources like the Heritage Encyclopedia of Band Music and the website “The Wind Repertory Project.” Details of each piece in the annotated bibliography were found in their scores whenever possible. Contact with composers and publishers, through both their websites and direct correspondence, played a major role in this part of the study. -
Retelling, Memory-Work, and Metanarrative: Two Musical-Artistic Mediations for Sexual Minorities and Majorities in Tokyo
Music and Arts in Action | Volume 4 | Issue 2 Retelling, Memory-Work, and Metanarrative: Two Musical-Artistic Mediations for Sexual Minorities and Majorities in Tokyo MIA NAKAMURA Department of Music | Tokyo University of the Arts | Japan* ABSTRACT Music is not only something to play, but it is also a way to produce a new sharable metanarrative through musical practice, which could represent a renewed set of social values in which people of diverse backgrounds are appreciated. The present paper explores this aspect of music, examining two musical activities held in Tokyo, Japan. One is “Prelude”, an annual music festival for music circles of sexual minorities and their supporters, and the other is “Living Together Lounge”, a monthly club event for those who are both HIV-positive and negative. These activities aim to create community empowerment and social transformation among minority and majority groups. While those involved are aware of musical aspects being an integral part of the events, the ways in which music plays a central role has not been well articulated. This is partly because the declared mission of each event has no overt connection to music, but more significantly because there has been no proper way, either commonly or academically, available to describe what is happening performatively in the practices of these events. The present study thus attempts to examine the unuttered aspects of these practices through ethnographic and interdisciplinary investigations. It reveals that the musical practices with various artistic engagements represent tangible memory- work in which participants are enabled to retell existing musical works in their own ways, producing a new sharable metanarrative and acquiring an acknowledgement of the retelling in public. -
MAKIKO KINOSHITA and HER <I>9 PRELUDES</I> for PIANO: THE
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 12-2012 MAKIKO KINOSHITA AND HER 9 PRELUDES FOR PIANO: THE AMALGAM OF AMERICAN JAZZ AND EUROPEAN TRADITION Mai Nagatomo University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Composition Commons Nagatomo, Mai, "MAKIKO KINOSHITA AND HER 9 PRELUDES FOR PIANO: THE AMALGAM OF AMERICAN JAZZ AND EUROPEAN TRADITION" (2012). Student Research, Creative Activity, and Performance - School of Music. 54. https://digitalcommons.unl.edu/musicstudent/54 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. MAKIKO KINOSHITA AND HER 9 PRELUDES FOR PIANO: THE AMALGAM OF AMERICAN JAZZ AND EUROPEAN TRADITION by Mai Nagatomo A Doctoral Document Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Paul E. Barnes Lincoln, Nebraska December, 2012 MAKIKO KINOSHITA AND HER 9 PRELUDES FOR PIANO: THE AMALGAM OF AMERICAN JAZZ AND EUROPEAN TRADITION Mai Nagatomo, D.M.A. University of Nebraska, 2012 Advisor: Paul E. Barnes Makiko Kinoshita is one of the leading contemporary composers in Japan. Kinoshita’s 9 Preludes (2001) is remarkable twenty-first century piano literature that provides abundant use of various musical styles.