Music Library Reading Room Notes
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Verdi and Milan Transcript
Verdi and Milan Transcript Date: Monday, 14 May 2007 - 12:00AM VERDI AND MILAN Professor Roger Parker This talk is about Verdi and Milan, and is in three acts, with a brief prelude and even briefer postlude. You may like to know that, as with most of Verdi's operas, the last act is quite a bit shorter than the first two. Prelude When the eighteen-year-old Verdi moved from provincial Busseto, a town near Parma, to Milan in June 1832, to complete his musical training privately after having been rejected from the Milan Conservatory, he must have felt keenly the change in cultural climate. From a small town in which his reputation had been as a promising church musician, and whose inhabitants he later reviled for their parochialism and petty jealousies, he transferred to one of Italy's major capital cities, an international operatic centre with a rich tradition of intellectual and cultural achievement. At the heart of this culture, and at the heart of the city, stood the Teatro alla Scala, one of the two or three major theatres in Italy. Much later in life Verdi recalled his lessons in Milan as extremely formal and academic: in particular he recalled no reference to the music of the present. But his recollections were written in 1871, some forty years after the events described, and they tell us more about the then-aging Verdi's reactions to an Italy increasingly influenced by 'foreign' opera composers (in particular Meyerbeer and Wagner) than it does about the reality of his own student experiences. -
March 1921) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 3-1-1921 Volume 39, Number 03 (March 1921) 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 39, Number 03 (March 1921)." , (1921). https://digitalcommons.gardner-webb.edu/etude/677 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]. MARCH J921 The World of Music The Baton Range Philharmonic Or¬ chestra is the first organization of this na¬ ture, of symphony size, to be formed in the State of Louisiana. It gave its first program SSsS®®*' SEEK K'S Sissas8®' Page U6 MARCH 1921 THE ETUDE MARCH 1921 Page U THE ETUDE Schools anb Colleges-cbtcago SUMMER MASTER COURSES FOR PROFESSIONALS AND ADVANCED STUDENTS June 2Tth=July joth=ig2i DAVID Summer master School The American Conservatory announces the return LHEVINNE engagement of these world-famous BISPHAM June 27 to August 6 [Six Weeks] artists to conduct SPECIAL ENGAGEMENT OF MAST3EE CLASSES specially designed for professional pianists and PROF. -
History Timeline from 13.7 Billion Years Ago to August 2013. 1 of 588 Pages This PDF History Timeline Has Been Extracted
History Timeline from 13.7 Billion Years ago to August 2013. 1 of 588 pages This PDF History Timeline has been extracted from the History World web site's time line. The PDF is a very simplified version of the History World timeline. The PDF is stripped of all the links found on that timeline. If an entry attracts your interest and you want further detail, click on the link at the foot of each of the PDF pages and query the subject or the PDF entry on the web site, or simply do an internet search. When I saw the History World timeline I wanted a copy of it for myself and my family in a form that we could access off-line, on demand, on the device of our choice. This PDF is the result. What attracted me particularly about the History World timeline is that each event, which might be earth shattering in itself with a wealth of detail sufficient to write volumes on, and indeed many such events have had volumes written on them, is presented as a sort of pared down news head-line. Basic unadorned fact. Also, the History World timeline is multi-faceted. Most historic works focus on their own area of interest and ignore seemingly unrelated events, but this timeline offers glimpses of cross-sections of history for any given time, embracing art, politics, war, nations, religions, cultures and science, just to mention a few elements covered. The view is fascinating. Then there is always the question of what should be included and what excluded. -
Father Heinrich As Kindred Spirit
father heinrich as kindred spirit or, how the log-house composer of kentucky became the beethoven of america betty e. chmaj Thine eyes shall see the light of distant skies: Yet, COLE! thy heart shall bear to Europe's strand A living image of their own bright land Such as on thy glorious canvas lies. Lone lakes—savannahs where the bison roves— Rocks rich with summer garlands—solemn streams— Skies where the desert eagle wheels and screams— Spring bloom and autumn blaze of boundless groves. Fair scenes shall greet thee where thou goest—fair But different—everywhere the trace of men. Paths, homes, graves, ruins, from the lowest glen To where life shrinks from the fierce Alpine air, Gaze on them, till the tears shall dim thy sight, But keep that earlier, wilder image bright. —William Cullen Bryant, "To Cole, the Painter, Departing for Europe" (1829) More than any other single painting, Asher B. Durand's Kindred Spirits of 1849 has come to speak for mid-nineteenth-century America (Figure 1). FIGURE ONE (above): Asher B. Durand, Kindred Spirits (1849). The painter Thomas Cole and the poet William Cullen Bryant are shown worshipping wild American Nature together from a precipice high in the CatskiJI Mountains. Reprinted by permission of the New York Public Library. 0026-3079/83/2402-0035$0l .50/0 35 The work portrays three kinds of kinship: the American's kinship with Nature, the kinship of painting and poetry, and the kinship of both with "the wilder images" of specifically American landscapes. Commissioned by a patron at the time of Thomas Cole's death as a token of gratitude to William Cullen Bryant for his eulogy at Cole's funeral, the work shows Cole and Bryant admiring together the kind of images both had commem orated in their art. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
Musical Fund Society of Philadelphia Supplementary Records Ms
Musical Fund Society of Philadelphia supplementary records Ms. Coll. 513 Finding aid prepared by Leann Currie. Last updated on May 15, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2005 Musical Fund Society of Philadelphia supplementary records Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents..................................................................................................................................... 10 Administrative Information......................................................................................................................... 12 Controlled Access Headings........................................................................................................................13 Collection Inventory.................................................................................................................................... 14 Early Membership..................................................................................................................................14 Minutes...................................................................................................................................................15 Musical Fund Hall................................................................................................................................ -
San Franciscans Soon to Hear "The Secret of Suzanne" "STELLAR MEMBERS of the MUSICAL PROFESSION WHO ARE APPEARING BEFORE SAN FRANCISCO AUDIENCES
THE SAN FRANCISCO CALL, SUNDAY, NOVEMBER 10, 1912. 31 San Franciscans Soon to Hear "The Secret of Suzanne" "STELLAR MEMBERS OF THE MUSICAL PROFESSION WHO ARE APPEARING BEFORE SAN FRANCISCO AUDIENCES. certs early In December. The noted con^ tralto comes here under Greenbaum'i Wolf Ferrari's Opera to Be Played management and will be remembered for her success of last season. She wll appear before the St. Francis Muslca Afternoon of November 17 Art society Tuesday night, December 3 tenor, promises much of musical enter- tainment. Miss Turner is one of the Powell,* * violinist,* comes t( pianists, program Miss Maud By WALTER ANTHONY best of local and the conoertize for us during the first wee! has been selected carefully, as the fol- opportunity a change the concert in December. Among her selections sh< FRANCISCO'S first I complete in pro- lowing wll. show: is featuring a composition by the lat< to hear Wolf Ferrari's opera, i gram. By special request Miss Niel- Sonata, op. 18 (piano and riollnl Rubinstein Coleridge-Taylor, who dedicated his las j Two movements ?Moderate, con moto, SAN"The Secret of Susanne." will sen and Miss Swartz will sing the moderato var. 1. 11. concerto to the American violinist. "Mme. Butterfly." which (a) "From Out Thine Eyes My Songs Are1 . occur Sunday afternoon. November j duet from in Flowing" '...'. Ries IT. when the band of singers they created a sensation last year at i*b) "Time Enough". Nevln SUITOR PROVES FALSE: (C> gathered the production of "Molly Bawn" Lover WOMAN SEEKS DEATH together by Andreas Dip- Boston Puccini's Ballade, op. -
JAN MRÁČEK, Violin
JAN MRÁČEK, violin Czech violinist Jan Mráček was born in 1991 in Pilsen and began studying violin at the age of 5, most recently under the guidance of the former Vienna Symphony concert master Jan Pospíchal. As a teenager he enjoyed his first successes, winning numerous competitions, participating in the master classes of Maestro Václav Hudeček - the beginning of a long and fruitful association. He was the youngest Laureate of the Prague Spring International Festival competition in 2010, and in 2011 was the youngest soloist in the history of the Czech Radio Symphony Orchestra. In 2014 he took first prize at Vienna’s Fritz Kreisler International Violin Competition at the Vienna Konzerthaus. He has performed as soloist with the Kuopio Symphony Orchestra and Romanian Radio Symphony, both under Sascha Goetzel, Lappeenranta City Orchestra (Finland), Czech National Symphony Orchestra, Prague Symphony Orchestra (FOK), Janáček Philharmonic Orchestra and almost all Czech regional orchestras. Jan Mráček had the honour of being invited by Maestro Jiří Bělohlávek to guest lead the Czech Philharmonic Orchestra in their three concert residency at Vienna’s Musikverein, and the European Youth Orchestra under Gianandrea Noseda and Xian Zhang on their 2015 summer tour. He is a member of the Lobkowicz Piano Trio, which took first prize and the audience prize at the International Johannes Brahms Competition in Pörtschach (Austria) in 2014. His acclaimed recording of the Dvořák violin concerto and other works by the Czech composer under James Judd with the Czech National Symphony was released on the Onyx label, and most recently he recorded works of Milan Mihajlovic with Howard Griffiths and the Brandenburg State Symphony for the CPO label. -
Why Is Everyone Always Stealing Black Music?
Disclaimer: This is a machine generated PDF of selected content from our databases. This functionality is provided solely for your convenience and is in no way intended to replace original scanned PDF. Neither Cengage Learning nor its licensors make any representations or warranties with respect to the machine generated PDF. The PDF is automatically generated "AS IS" and "AS AVAILABLE" and are not retained in our systems. CENGAGE LEARNING AND ITS LICENSORS SPECIFICALLY DISCLAIM ANY AND ALL EXPRESS OR IMPLIED WARRANTIES, INCLUDING WITHOUT LIMITATION, ANY WARRANTIES FOR AVAILABILITY, ACCURACY, TIMELINESS, COMPLETENESS, NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. Your use of the machine generated PDF is subject to all use restrictions contained in The Cengage Learning Subscription and License Agreement and/or the Gale Academic OneFile Select Terms and Conditions and by using the machine generated PDF functionality you agree to forgo any and all claims against Cengage Learning or its licensors for your use of the machine generated PDF functionality and any output derived therefrom. Why Is Everyone Always Stealing Black Music? Author: Wesley Morris Date: Aug. 18, 2019 From: The New York Times Magazine Publisher: The New York Times Company Document Type: Article Length: 4,665 words Lexile Measure: 1190L Full Text: I've got a friend who's an incurable Pandora guy, and one Saturday while we were making dinner, he found a station called Yacht Rock. ''A tongue-in-cheek name for the breezy sounds of late '70s/early '80s soft rock'' is Pandora's definition, accompanied by an exhortation to ''put on your Dockers, pull up a deck chair and relax.'' With a single exception, the passengers aboard the yacht were all dudes. -
September 1914) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 9-1-1914 Volume 32, Number 09 (September 1914) 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 32, Number 09 (September 1914)." , (1914). https://digitalcommons.gardner-webb.edu/etude/606 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]. THE ETUDE 625 Combs Broad Street Conservatory Greatest Educational Work of the Age Standard and Modern Mathews Standard Instruction Books Graded Course of for the Pianoforte THE SELECTION OF THE RIGHT MUSIC ■r^lna; Studies™ Pianoforte SCHOOL IS THE ALL IMPORTANT STEP Compiled by W. S. B. MATHEWS Individual attention, high ideals, breadth of culture, personal care and moderate cost of education at the COMBS BROAD ST. CONSERVATORY OF MUSIC should interest you !§pnmmmmMs. Three Decades of Success Teachers of World Wide Fame Can Accommodate 2500 Day and Dormitory GILBERT RAYNOLDS COMBS, Piano. Students. HENRY SCHRAD1ECK, Violin. iEssSItsI' Chartered by State of Pennsylvania with HUGH A. CLARKE, Mus. Doc., Theory and seventy artist teachers—graduates of the power to confer degrees. -
Notes and Queeie8
368 Notes and Queries. NOTES AND QUEEIE8. Motes, " THE PHILADELPHIA OF OUR ANCESTORS,"—In every large city of the United States, other than Philadelphia, one of the leading news- papers, contains a department of geneology, some of which have been printed for nearly a quarter of a century. To supply this want in Philadelphia, the North American has arranged with Mr. Frank Willing Leach to take the editorial charge of a page department in the magazine section of its Sunday issue, to be entitled "The Philadelphia of our Ancestors." For upwards of twenty years, Mr. Leach has been engaged in geneological and historical investigations, and has collected a vast amount of material relating to the inhabitants of Philadelphia and ad- joining sections of Colonial and Revolutionary days, and his abilities as a chronicler and narrator of past events, have been well known and ap- preciated. His initial contributions to this department appeared in the issue of June 9th., and in addition to the historical and biographical data which it contained, considerable space was devoted to geneological queries submitted by readers of the North American regarding their ancestors, to which answers will be furnished in subsequent issues. Suggestions will also be made to aid those who desire to make inquiry about their ancestors, but do not know what steps to take in that direc- tion. We believe this department will prove of the greatest possible interest to all citizens of Philadelphia and its environs, certainly, no one is better equipped to take charge of it, than the gentleman who has been selected for the task. -
Journal of the Music & Entertainment Industry Educators Association
Journal of the Music & Entertainment Industry Educators Association Volume 19, Number 1 (2019) Bruce Ronkin, Editor Northeastern University Paul Linden, Associate Editor University of Southern Mississippi Ben O’Hara, Associate Editor (Book Reviews) Australian College of the Arts Published with Support from America’s First Unprofessional Songwriter: Stephen Foster and the Ritual Economy of Copyright in Early American Popular Music Jason Lee Guthrie Clayton State University This research was funded in part by a research grant from the Music & Entertainment Industry Educators Associa- tion. https://doi.org/10.25101/19.2 Abstract This article explores Stephen Foster’s understanding and use of copyright. It examines what his copyright strategy can reveal about his professionalism as a songwriter and about his worldview as an important influencer of early American popular culture. It adapts the anthropologi- cal theory of ritual economy to theorize how Foster’s economic decision making, as revealed in copyright and related business records, can offer material evidence of his worldview. Foster’s failure to secure copyrights for his early work, to establish himself as the author of his most popular songs to the music buying public, and to capitalize upon favorable song- writing contracts are considered. These sources may also illuminate how the precedent Foster set has shaped the discourse on professionalism in American popular music. Keywords: copyright law, early America, music business, music his- tory, Music Modernization Act, music piracy