1 Eugenio Maria De Hostos Community College / CUNY
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German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
2015 Review from the Director
2015 REVIEW From the Director I am often asked, “Where is the Center going?” Looking of our Smithsonian Capital Campaign goal of $4 million, forward to 2016, I am happy to share in the following and we plan to build on our cultural sustainability and pages several accomplishments from the past year that fundraising efforts in 2016. illustrate where we’re headed next. This year we invested in strengthening our research and At the top of my list of priorities for 2016 is strengthening outreach by publishing an astonishing 56 pieces, growing our two signatures programs, the Smithsonian Folklife our reputation for serious scholarship and expanding Festival and Smithsonian Folkways Recordings. For the our audience. We plan to expand on this work by hiring Festival, we are transitioning to a new funding model a curator with expertise in digital and emerging media and reorganizing to ensure the event enters its fiftieth and Latino culture in 2016. We also improved care for our anniversary year on a solid foundation. We embarked on collections by hiring two new staff archivists and stabilizing a search for a new director and curator of Smithsonian access to funds for our Ralph Rinzler Folklife Archives and Folkways as Daniel Sheehy prepares for retirement, Collections. We are investing in deeper public engagement and we look forward to welcoming a new leader to the by embarking on a strategic communications planning Smithsonian’s nonprofit record label this year. While 2015 project, staffing communications work, and expanding our was a year of transition for both programs, I am confident digital offerings. -
Youth Theater
15_144398 bindex.qxp 7/25/07 7:39 PM Page 390 Index See also Accommodations and Restaurant indexes, below. GENERAL INDEX African Paradise, 314 Anthropologie, 325 A Hospitality Company, 112 Antiques and collectibles, AIDSinfo, 29 318–319 AARP, 52 AirAmbulanceCard.com, 51 Triple Pier Antiques Show, ABC Carpet & Home, 309–310, Airfares, 38–39 31, 36 313–314 Airlines, 37–38 Apartment rentals, 112–113 Above and Beyond Tours, 52 Airports, 37 Apollo Theater, 355–356 Abyssinian Baptist Church, getting into town from, 39 Apple Core Hotels, 111 265–266 security measures, 41 The Apple Store, 330 Academy Records & CDs, 338 Air-Ride, 39 Architecture, 15–26 Access-Able Travel Source, 51 Air Tickets Direct, 38 Art Deco, 24–25 Access America, 48 Air tours, 280 Art Moderne, 25 Accessible Journeys, 51 AirTrain, 42–43 Beaux Arts, 23 Accommodations, 109–154. AirTran, 37 best structures, 7 See also Accommodations Alexander and Bonin, 255 early skyscraper, 21–22 Index Alice in Wonderland (Central Federal, 16, 18 bedbugs, 116 Park), 270 Georgian, 15–16 best, 9–11 Allan & Suzi, 327 Gothic Revival, 19–20 chains, 111 Allen Room, 358 Greek Revival, 18 Chelsea, 122–123 All State Cafe, 384 highlights, 260–265 family-friendly, 139 Allstate limousines, 41 International Style, 23–24 Greenwich Village and the Alphabet City, 82 Italianate, 20–21 Meat-Packing District, Alphaville, 318 late 19th century, 20 119–122 Amato Opera Theatre, 352 Postmodern, 26 Midtown East and Murray American Airlines, 37 Second Renaissance Revival, Hill, 140–148 American Airlines Vacations, 57 -
Disability and Music
th nd 19 November to 22 December UKDHM 2018 will focus on Disability and Music. We want to explore the links between the experience of disablement in a world where the barriers faced by people with impairments can be overwhelming. Yet the creative impulse, urge for self expression and the need to connect to our fellow human beings often ‘trumps’ the oppression we as disabled people have faced, do face and will face in the future. Each culture and sub-culture creates identity and defines itself by its music. ‘Music is the language of the soul. To express ourselves we have to be vibrating, radiating human beings!’ Alasdair Fraser. Born in Salford in 1952, polio survivor Alan Holdsworth goes by the stage name ‘Johnny Crescendo’. His music addresses civil rights, disability pride and social injustices, making him a crucial voice of the movement and one of the best-loved performers on the disability arts circuit. In 1990 and 1992, Alan co- organised Block Telethon, a high-profile media and community campaign which culminated in the demise of the televised fundraiser. His albums included Easy Money, Pride and Not Dead Yet, all of which celebrate disabled identity and critique disabling barriers and attitudes. He is best known for his song Choices and Rights, which became the anthem for the disabled people’s movement in Britain in the late 1980s and includes the powerful lyrics: Choices and Right That’s what we gotta fight for Choices and rights in our lives I don’t want your benefit I want dignity from where I sit I want choices and rights in our lives I don’t want you to speak for me I got my own autonomy I want choices and rights in our lives https://youtu.be/yU8344cQy5g?t=14 The polio virus attacked the nerves. -
Connection/Separation
Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director MSM Opera Theatre productions are made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director Myra Huang, Vocal Coach & Pianist Kristen Kemp, Vocal Coach & Pianist Megan P. G. Kolpin, Props Coordinator DIRECTOR’S NOTE In each of our lives—during this last year especially—we may have discovered ourselves in moments of wanting, even needing some sort of human connection, but instead finding separation by any number of barriers. In the arias and scenes that follow, we witness characters in just this kind of moment; searching for meaningful contact yet being somehow barred from achieving it. Through circumstance, distance, convention, misunderstanding, pride, fear, ego, or what have you, we may find ourselves in situations similar to the characters in this program, while looking forward to the days when connection can be more easily achieved and separation the exception to the rule. -
THE ITALIAN AMERICAN TV MAGAZINE William Schempp This Spring Italics Begins Its Twenty-Fifth Year of Accomplished Extraordinary Things
CALANDRA ITALIAN AMERICAN INSTITUTE dedicatedil to the historyBollettino and culture of Italians in America VOLUME 5 • ISSUE 1 • SPRING 2012 CONTENTS 2 Dean’s Letter • Personaggi: Ralph Fasanella 3 Updated website • Friends of the Institute 4 Italics • Staff News 5 Miracle Art • Calandra Publications 6 Eyes and Ears on the Campuses: IAFSAC 7 2012 Conference: Reimagining White Ethnicity 8 Student Club Activities 9 Italian American Mental Health Symposium • Audience Profile 10 Ad Memorium 11 American Italian Historical Association 2011 Conference • From the Archives 12 Calendar of Events The John D. Calandra Italian American Institute is a University Institute under the Aegis of Queens College, City University of New York LETER FROM THE DEAN ____________________________________________________________________________________________________________________________________________________________________________________ Welcome to volume 5.1 of the Calandra Institute’s il years. Their generosity has allowed us to do things our basic Bollettino! This issue marks the beginning of our fifth year budget would not have. Friends of the Calandra Institute, in publishing this newsletter and nearly six years of my tenure at fact, is the abbreviated name of our nascent foundation. the Institute. As I look through this issue, I am reminded of There is much more in il Bollettino: updates on our so much we have accomplished. Our staff has responded to advisory council, counseling services, Italics, publications, many new challenges with adroitness and aplomb. As dean, new website, and more. You will also find the 2012 annual I look back on this period with a great deal of satisfaction conference program, as well as coverage of our recent Italian- and pride, as we all bring along this Institute to the level American mental health symposium. -
José Gabriel Muñoz Interview Transcript
Raíces Digital Archive Oral History Transcript José Gabriel Muñoz - Cuatrista October 20, 2019 [0:11] José Gabriel Muñoz: My name is José Gabriel Muñoz and I play the Puerto Rican cuatro. It’s used mostly for the folkloric music of Puerto Rico. [0:20] I grew up listening to the music in my household. My dad would always play the music. I was born in Puerto Rico so I had those roots of the music and the culture was always in my family. And my dad would always play the music so growing up, I was always listening to it, it was always basically a part of me. [41:00] But when I was about fourteen years old I saw someone play it in front of me for the first time, and it happened to be a young man, my same age, about fourteen-thirteen, fourteen, at the time, and that’s when it became palpable and real to me. Up until then it was listening to eight-tracks and cassettes, you know, the old guard of the music, as I would call it. [1:03] And so, many young people, as myself at the time, would interpret that as just music for old people, music of my grandfathers, of my older uncles and such. It wasn’t the here and now, hip type music. Up until I watched this young man play, right in front of me, and it became alive to me, and from that moment on is where the interest grew. [1:32] Nicole Wines: Can you talk a little bit about the instrument itself? [1:38] JGM: The instrument comes from the lute family, it is my understanding. -
Jíbaro a Smithsonian Folkways Lesson Designed By: Sandra Sanchez University of Miami
Jíbaro A Smithsonian Folkways Lesson Designed by: Sandra Sanchez University of Miami Summary: Puerto Rican culture is a representation of the diverse heritages of three cultural groups: Taíno Indians, Africans, and Spaniards. This lesson focuses on the Spanish influences found in Puerto Rico’s musical culture by studying jíbaro music. Suggested Grade Level: Grades 3-5, 6-8 Country: Puerto Rico Region: Caribbean Culture Groups: Puerto Rican, Spanish Genre: Instruments: Cuatro, Orff Instruments, Güiro Language: Spanish Co-curricular Areas: Language Arts, Social Studies National Standards: 1, 2, 3, 4, 6, 7, 8, 9 Prerequisites: Students should have had some experience using Orff instruments. Objectives • Students will be able to create lyrics using an assigned rhyming structure. • Students will be able to create rhythms to the lyrics of a décima. • Students will be able to improvise a melody with a given rhythm on an Orff instrument. • Students will be able to sing the response section to a call-and-response song. Materials 1. Mohr, Nicholasa and Antonio Martorell. 1995. The song of el coquí and other tales of Puerto Rico. New York: Viking. 2. Orff Instruments 3. Güiro and pua (güiro stick) 4. Musica del Pueblo Website: http://www.musicadelpueblo.org/ 5. Smithsonian Folkways, “Y amo la libertad (And I Love Freedom)” by Ecos de Borinquen from Jíbaro Hasta el Hueso: Mountain Music of Puerto Rico: http://www.folkways.si.edu/ecos-de-borinquen/jibaro-hasta-el-hueso-mountain- music-of-puerto-rico/latin-world/album/smithsonian 6. Smithsonian Folkways, “Seis Salinés” by Cuerdas de Borínquen from Puerto Rico in Washington: http://www.folkways.si.edu/puerto-rico-in-washington/caribbean-latin- world/music/album/smithsonian Lesson Segments 1. -
Amato Opera Company Building, Located at 319 Bowery in Manhattan, As a New York City Landmark
January 28, 2009 Hon. Robert Tierney, Chair NYC Landmarks Preservation Commission 1 Centre Street, 9th Floor New York, NY 10007 Dear Chairman Tierney, We write to request that the New York City Landmarks Preservation Commission consider the designation of the Amato Opera Company building, located at 319 Bowery in Manhattan, as a New York City Landmark. The building’s history is notable for its connection to the theatrical history both of the Bowery and of the surrounding neighborhoods. Though the Amato Opera Company has remained small and intimate since its founding 61 years ago, it has played a significant role in the both the Village theatre and world opera scenes. The Bowery has a long and rich theatre history, which began with the opening of the Bowery Theatre in 1826. By the late 19th Century, the Bowery was considered to be the center of New York theatre life. Today, the presence of The Amato Opera Company is an important reminder of this history, yet it also links the Bowery to the avant‐garde theatre scene that flourished later in the 1940s and 50s all over the South Village, East Village, Greenwich Village and NoHo. The Amato Opera Company was founded with the same populist spirit that drove Joseph Papp to showcase low‐cost Shakespeare productions at the Public Theatre just a few blocks uptown, and which encouraged the opening of dozens of others such as the Circle in the Square Theatre, the Provincetown Playhouse, and the Sullivan Street Theatre, all of which have been lost. As more of these theatres are demolished, a crucial part of the history of Lower Manhattan is being erased. -
CENTRAL OPERA SERVICE BULLETIN Sponsored by the Metropolitan Opera National Council • 147 West 39Th Street • New York, N.Y
CENTRAL OPERA SERVICE BULLETIN Sponsored by the Metropolitan Opera National Council • 147 West 39th Street • New York, N.Y. 10018 • PE 6-1200 January t 1965 NEW OPERAS AND PREMIERES Two more books by famous American authors are being set to music. Hawthorne's GENTLE BOY has been chosen by Harold Blutnenfeld, artistic director of the St. Louis Opera Theatre, for the story of his opera by the same name. Gale Hoffman is responsible for .the libretto.. Commissioned by the St. Louis New Music Circle, the work will be premiered at the Bicentennial Celebration of the City of St. Louis in 1966. Former compositions of Mr. Blumenfeld in- clude "Elegy for a Nightingale", prize-winning work for chorus and orchestra, "Expansion" for woodwind quintet, "Miniature Overture" (both performed in St. Louis), and a full-length opera "Amphitryon 4". The librettist has written "Blood Moon" with dello Joio and "Medusa" with von Einem. WUTHERING HEIGHTS, the haunting story by Emily Bronte, has inspired yet another composer . (Carlisle Floyd fs version was premiered in Santa Fe in 1958). Richard Barri of New York City informs us that his version of WUTHERING HEIGHTS is conceived in three acts, four scenes, with arias, duets, concerted numbers and accompanied reci- tatives "bolstered with modern harmonization". ******** Denison University will give the first performance of Martin Kalmanoff's VIDEOMANIA, the newest satire on American TV. (One. of the best known operasin this field is Douglas Moore's "Gallantry", a take-off on TV soap-opera and commercials). ******* European premieres of interest include: -Ildebrando Pizetti's CLITENNESTRA at La Scala, Milan, with Floriana Cavalli in the title role. -
Isolation on and Off the Island: the Politics of Displacement in Contemporary Spanish Caribbean Fiction
ISOLATION ON AND OFF THE ISLAND: THE POLITICS OF DISPLACEMENT IN CONTEMPORARY SPANISH CARIBBEAN FICTION By Gretchen Susan Selcke Dissertation Submitted by the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in Spanish August, 2015 Nashville, Tennessee Approved: William Luis, Ph.D. Cathy L. Jrade, Ph.D. Benigno Trigo, Ph.D. Lorraine M. López, Ph.D. Copyright © 2015 by Gretchen Susan Selcke All Rights Reserved To my husband Phil for his unwavering love and support and To my daughter Belén Amanda iii ACKNOWLEDGEMENTS This work would not have been possible without Vanderbilt University’s Department of Spanish and Portuguese. I am grateful for financial support from Vanderbilt’s Graduate Select Scholars Award, the Center for the Americas’ Fellowship, the Library Dean’s Fellowship for the Manuel Zapata Olivella Correspondence Collection, and the E. Inman Fox Graduate Teaching Award. These awards and fellowships, among others, helped me to complete this project. I am especially indebted to Professor William Luis, my first and greatest champion. He is a wonderful mentor and scholar whose lasting contributions to Latino Studies shape the field. Thank you to Professor Cathy Jrade, who as Department Chair for most of my tenure at Vanderbilt, provided guidance and set an example of professional excellence. To Professor Benigno Trigo, thank you for your careful attention and support. To Professor Lorraine López, thank you for your encouragement and willingness to support graduate education. My committee has been tested, and I am forever in their debt. I am grateful to all of those with whom I have had the honor to work during this and other projects. -
Music Education: Thoughts, Reflections and Considerations in 'Uniting Voices'
australian asociety s for mumsic Music education: Thoughts, reflections e ducation incorporatede and considerations in ‘Uniting voices’ Jacinth Oliver Memorial Address, 2017 David Forrest RMIT University Abstract The paper, presented as the Jacinth Oliver Memorial Address at the ASME national conference in 2017 explores a range of issues in music, education and music education. Past addresses are explored in the framework of a series of preludes. Key words: Music, education, music education, Kabalevsky, music for children. I acknowledge the Wurundjeri people of the Kulin be heard was for them to become politically Nations as the traditional owners of the land on active and she urged the ASME executive to which we meet. I respectfully recognise Elders adopt a strong advocacy agenda. She enrolled in both past and present. a PhD at ANU and began studies in government In acknowledging Elders I am reminded of my policy processes which were cut short by her elders, my parents, my teachers and the people who untimely death. Jacinth developed networks have so impacted on my thinking and practice. I’ll through her work with professional associations return to this later in the paper. such as the Australian Curriculum Association. I’m deeply honoured to be presenting this She was a member of an Australian delegation address. Since 1990 ASME has remembered and of arts educators who toured USA and visited honoured the contribution of Jacinth Oliver with various schools and centres promoting arts this address at the national conference. ASME in its education. (ASME, 2017, p. 23) directions and guidance for national conferences This paper is structured and presented as a has provided the following background on this set of preludes – 24 preludes.