John Beckwith and Robin Elliott, Eds. Mapping Canada's Music: Selected Writings of Helmut Kallmann
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Helmut Kallmann (1922-2012): a Memoir
HELMUT KALLMANN (1922-2012): A MEMOIR BY MARIA CALDERISI Anyone can read the brief biographical notes on Helmut Kallmann in the Encyclopedia of Music in Canada and in other published sources, and be amazed by the length and breadth of his writings as listed in Musical Canada: Words and Music Honouring Helmut Kallmann, the festschrift edited by John Beckwith and Frederick A. Hall and published by the University of Toronto Press in 1988. But I like to think that it is in the hearts and memories of those who came to know this gentle, modest man by working with him and sharing with him his interest and passion for keeping the record, for collecting and preserving Canada’s musical heritage, that Helmut Kallmann’s spirit lives on. Elsewhere in this issue you have an overview of his activities and achievements, along with several testimonials and personal stories. So I shall limit myself to my own experiences shared with him or directly resulting from his encouragement and support. First of all, I would not have become a music librarian had it not been for Dr. Kallmann, as he was most respectfully called by most of his directors and co-workers at the National Library of Canada. Near the end of my belated music studies at McGill in1972, my favourite professor—after whom McGill’s Marvin Duchow Music Library is now named—had dropped the idea of librarianship in my ear. Various enquiries led me to Ottawa to ask Helmut what he thought about the future of music librarianship in Canada. Based on his prognosis I enrolled in a specialized Master’s programme at the University of Michigan, and, by the time I graduated in 1973, Helmut had convinced the National Library that he needed a reference librarian to attend to the increasing demands upon the Music Division, then only three years old. -
Caml Review Revue De L'acbm Vol. 40, No. 1 April / Avril 2012
CAML REVIEW REVUE DE L’ACBM VOL. 40, NO. 1 APRIL / AVRIL 2012 ARTICLES AND REPORTS / ARTICLES ET RAPPORTS : PAGE President’s Report / Message de la présidente 3 Janneka Guise In Memoriam: Helmut Kallmann (1922-2012) 5 Maria Calderisi International Association of Music Libraries 6 Conference Report, Dublin, Ireland, 24-29 July 2011 Janneka Guise and Cheryl Martin Winner of the CAML Student Paper Award 2012: 9 The Plexure of Copyright Infringement Richard McKibbon REVIEWS / COMPTES RENDUS : Centre and Periphery, Roots and Exile: Interpreting the 18 Music of István Anhalt, György Kurtág, and Sándor Veress (Book) / Edward Jurkowski We Are the Champions: The Politics of Sports and Popular 21 Music (Book) / Sam Popowich Writing Gordon Lightfoot: The Man, the Music, and the 23 World in 1972 (Book) / Jennifer Higgs CAML Review, published three times a year, is the official organ of the Canadian Association of Music Libraries, Archives and Documentation Centres. La Revue de l’ACBM, publiée trois fois l’an, est l’organe officiel de l’Association canadienne des bibliothèques, archives et centres de documentation musicaux. Editor / Éditrice : Cathy Martin, Marvin Duchow Music Library, McGill University, Montreal, Quebec, H3A 1E3. Tel: 514-398-5874; e-mail: [email protected]. Associate Editor / Éditrice adjointe : Cheryl Martin, Library Information Resources Management, Western Libraries, The University of Western Ontario, London, Ontario, N6A 3K7. Tel: 519-661-2111 x80957; e-mail: [email protected]. Review Editor / Éditeur des comptes-rendus : Desmond Maley, J.N. Desmarais Library, Laurentian University, 935 Ramsey Lake Rd., Sudbury, Ontario, P3E 2C6. Tel: 705-675-1151 x3323; e-mail: [email protected]. -
Elaine Keillor, Ed. the Canadian Musical Heritage—Le Patrimoine Musical Canadien
Document generated on 09/29/2021 12:49 p.m. Canadian University Music Review Revue de musique des universités canadiennes Elaine Keillor, ed. The Canadian Musical Heritage—Le Patrimoine musical canadien. Vol. I: Piano Music 1. Ottawa: Canadian Musical Heritage Society, 1983, XXIV, 246 pp. Gordana Lazarevich Number 5, 1984 URI: https://id.erudit.org/iderudit/1014012ar DOI: https://doi.org/10.7202/1014012ar See table of contents Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this review Lazarevich, G. (1984). Review of [Elaine Keillor, ed. The Canadian Musical Heritage—Le Patrimoine musical canadien. Vol. I: Piano Music 1. Ottawa: Canadian Musical Heritage Society, 1983, XXIV, 246 pp.] Canadian University Music Review / Revue de musique des universités canadiennes, (5), 320–323. https://doi.org/10.7202/1014012ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 1984 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 320 ELAINE KEILLOR, ed. The Canadian Musical Heritage—Le Patrimoine musical canadien. Vol. I: Piano Music i. Ottawa: Canadian Musical Heritage Society, 1983, xxiv, 246 pp. -
Index to CAML Review /Revue De L'acbm, Volume 3 1
Index to CAML Review /Revue de l'ACBM, Volume 3 1 Compiled by Kathleen McMorrow Faculty of Music Library, University of Toronto This index includes personal and corporate names, titles, and subjects of articles, reports and reviews in one main alphabet, plus an added title list of reviews. Names are identified as author (a), composer (c), editor (e), performer (pr-, or reviewer (r); names not so identified are subject entries; titles of articles are contained in quotation marks; titles of reviewed works are italicized, titles in square brackets have been supplied by the indexer. Citations are in the form: volume/issue:inclusive pages. Adaskin, Murray, 3 1/2:49-5 1 droit d'auteu, 3 1/25 voir aussi copyright acquisitions, 3 1/2:9-11;14-15 Advertisers Fazekas, Monica, "Information literacy for music Haworth Journals, 3 11252 librarians: pre-conference workshop at MLA aesthetics of music, 3 1/5:43-45 2003," 3 1/1:6-8 Applebaum, Louis, 3 1/1:28-30 Foliage, 3 113 :19-20 Archer, Violet, 3 111 :34-36,3 113 :24-25 "Le Fonds Paul Bley de la Division de la The audiovisual cataloging current, 3 l/1 :23 -25 musique, Bibliothhue et Archives du Canada," 3 112.33-37 Bailey, James, a 3 113: 17-18 Forsyth, Malcolm, 3 1/1:37-3 8,3 1/3:24-25 Bain, Jennifer, r 3 111 :34-36 Fraser, David, "The Paul Bley fonds at the Music Barris, Alex, a 3 1/1:3 1-33 division of the Library and Archives of Beckwith, John, r 3 1/2:40-42, 3 113 :2 1-23 Canada," 3 1/2:30-32, "Le fonds Paul Bley de Begins with the oboe: a history of the Toronto la Division de la musique, BibliothQue -
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: a QUESTION of NATIONALISM a Thesis Submitted in Partial Satis
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: A QUESTION OF NATIONALISM A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Ronald Frederick Erin August, 1983 J:lhe Thesis of Ronald Frederick Erin is approved: California StD. te Universi tJr, Northridge ii PREFACE This thesis represents a survey of Canadian music since 1940 within the conceptual framework of 'nationalism'. By this selec- tive approach, it does not represent a conclusive view of Canadian music nor does this paper wish to ascribe national priorities more importance than is due. However, Canada has a unique relationship to the question of nationalism. All the arts, including music, have shared in the convolutions of national identity. The rela- tionship between music and nationalism takes on great significance in a country that has claimed cultural independence only in the last 40 years. Therefore, witnessed by Canadian critical res- ponse, the question of national identity in music has become an important factor. \ In utilizing a national focus, I have attempted to give a progressive, accumulative direction to the six chapters covered in this discussion. At the same time, I have attempted to make each chapter self-contained, in order to increase the paper's effective- ness as a reference tool. If the reader wishes to refer back to information on the CBC's CRI-SM record label or the Canadian League of Composers, this informati6n will be found in Chapter IV. Simi- larly, work employing Indian texts will be found in Chapter V. Therefore, a certain amount of redundancy is unavoidable when interconnecting various components. -
John Beckwith Fonds CA OTUFM 10
University of Toronto Music Library John Beckwith fonds CA OTUFM 10 © University of Toronto Music Library 2020 Contents John Beckwith ................................................................................................................................................. 3 John Beckwith fonds .................................................................................................................................... 4 Series A : Compositions ...................................................................................................................... 4 Series B: Librettos, texts, performance records ........................................................................ 26 Series C: Other activities ................................................................................................................... 35 Series D: Other correspondence.................................................................................................... 39 Series E: Biographical ......................................................................................................................... 41 Series F: Recordings ........................................................................................................................... 43 John Beckwith fonds University of Toronto Music Library CA OTUFM 10 John Beckwith 1927- John Beckwith (born March 9, 1927 in Victoria, British Columbia) is a composer, pianist, author, and teacher. He moved to Toronto in 1945 to study piano with Alberto Guerrero at the Royal Conservatory. -
The Piano Music of Jean Coulthard: an Historical Perspective
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction Is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wiU indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 The Piano Music of Jean Couithard By Glenn David Colton B.Mus., Memorial University of Newfoundland, 1990 M.A. (Music Criticism), McMaster University, 1992 A dissertation submitted in partial fulfilment of the requirements for the degree of DOCTOR OF PHILOSOPHY (Musicology) in the Department of Music We accept this dissertation as conforming to the required standard fl$r. -
Mapping Canada's Music: Selected Writings of Helmut Kallmann. John
Mapping Canada’s Music: Selected Writings of Helmut Kallmann. John Beckwith and Robin Elliott, editors. Waterloo, ON: Wilfrid Laurier University Press, 2013. 260 pp., ill. ISBN 978-1- 55458-891-6. The latest addition of Wilfrid Laurier University Press to its growing list of publications on Canadian music is this collection of writings by the scholar who can justifiably be called the father of Canadian music studies, Helmut Kallmann. Kallmann’s contribution cannot be overestimated; his association with Canadian music is as recognizable as that of H.C. Robbins Landon with Joseph Haydn, or more recently, Richard Taruskin and Russian music studies. The co-editors write that “When the measure of Canadian music studies in the twentieth century is taken, Kallmann will loom large as a pioneering figure and a predominating presence.” (17) With his 1960 A History of Music in Canada 1534-1914, the study of Canadian music history became a viable area of scholarship. The field of Canadian music studies truly came into its own with the 1981 Encyclopedia of Music in Canada (EMC), a vast project that Kallmann co-edited. Two interesting features about Kallmann’s career struck me while reading these essays. First, it is somewhat ironic that a Berlin-born German immigrant, one whose childhood musical education included such staples as Beethoven, Haydn, Mozart, and Schubert, composers that Kallmann held in high esteem throughout his life, would come to be the foremost scholar of Canadian music history. Second, while Kallmann’s work set the stage for the tremendous growth in Canadian music studies during the past thirty years or so—witness, for instance, the large number of dissertations or the number of institutions offering seminars or surveys on Canadian music topics—Kallmann never held a university faculty appointment. -
Classical Music Criticism at the Globe and Mail: 1936-2000 Colin Eatock
Document generated on 09/28/2021 8:13 a.m. Canadian University Music Review Revue de musique des universités canadiennes Classical Music Criticism at the Globe and Mail: 1936-2000 Colin Eatock Volume 24, Number 2, 2004 Article abstract This article is a study of developments in classical music criticism at the URI: https://id.erudit.org/iderudit/1014580ar Toronto-based Globe and Mail newspaper from its inception in 1936 to the year DOI: https://doi.org/10.7202/1014580ar 2000. Three distinct time-periods are identified, according to content, style and ideology: 1936-1952, a period of boosterism, when critics often saw it as their See table of contents role to support Toronto's musicians and musical institutions; 1952-1987, when (during the lengthy tenure of critic John Kraglund) the newspaper took a more detached, non-partisan stance towards musicians and musical activities in the Publisher(s) city; and 1987-2000, when critics began to address social, political, and economic issues governing classical music, and to question inherited cultural Canadian University Music Society / Société de musique des universités assumptions about the art form. canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Eatock, C. (2004). Classical Music Criticism at the Globe and Mail: 1936-2000. Canadian University Music Review / Revue de musique des universités canadiennes, 24(2), 8–28. https://doi.org/10.7202/1014580ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 2005 (including reproduction) is subject to its terms and conditions, which can be viewed online. -
Creativity, Community, and Memory Building: Interned Jewish Refugees in Canada During and After World War II
Creativity, Community, and Memory Building: Interned Jewish Refugees in Canada During and After World War II By Elise Bigley A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in History with Specialization in Digital Humanities Carleton University Ottawa, Ontario ©2017 Elise Bigley ii Abstract In May of 1940, a wartime British government arrested those deemed “enemy aliens” and transferred them to safe areas of the country. Over 2000 of these “enemy aliens” were Jewish German and Austrian men. On June 29, 1940, the first group of Jewish refugees was sent to internment camps in Canada. This thesis explores three different examples of memory and community to illustrate the development of the internees’ search for meaning during and post-internment. Artwork created in the camps, a series of letters between ex-internees, and several issues of the Ex-Internees Newsletter are the focus of this study. Social network analysis tools are used to visualize the post- internment internee network. By looking at diverse aspects of the internment narrative, this thesis provides a unique lens into the conversation on memory and history. iii Acknowledgments I would like to express my deep gratitude to my co-supervisors Dr. John C. Walsh and Dr. James Opp for their useful comments, remarks, and engagement during the past two years. A special thanks to John for accepting all of my work past the many ‘deadlines’ I set for myself. This thesis would not have been possible without the expertise of Dr. -
Orchestral Music of the Canadian Centennial
! ! ORCHESTRAL MUSIC OF THE! CANADIAN CENTENNIAL ! ! ! ! ! ! Isaac !Page ! ! ! ! ! ! ! ! Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF! MUSIC May 2020 ! Committee: Emily Freeman Brown, Advisor Per Broman ! !ii ! ABSTRACT ! Emily Freeman Brown, Advisor ! In 1967, Canada celebrated its centennial anniversary of confederation. Celebrations were marked with many significant events in the decade leading up to the centennial, notably the adoption of a new Canadian flag, the construction of many cultural landmarks across the country, and Expo 67 in Montreal. In addition to these major cultural celebrations, there was a noticeable push to create and promote Canadian art. Approximately 130 compositions were written for the centennial year, with many commissions coming from Centennial Commission grants as well as the Canadian Broadcasting Corporation (CBC). Of those works, 51 were orchestral compositions that were intended to be performed by orchestras across the country. These works form an important collection that is ripe for study into compositional trends of the time. I believe that composers, writing for such a significant cultural event in Canada, attempted, consciously or not, to codify a Canadian musical identity. I will look into whether shared compositional traits could be considered signifiers of a general Canadian style by looking at previous scholarship on Canadian identity and how it can relate to music. Specific works will be analyzed by Applebaum, Eckhardt-Gramatté, Freedman, Glick, Hétu, Morel, Surdin, and Weinzweig. !iii ! ACKNOWLEDGMENTS ! Thank you to my parents, Carolyn Ricketts and Steven Page. I am very aware that I would likely not be where I am, and able to write a document like this, if both of my parents had not been musicians and had not continued to encourage me through my education. -
The Orchestral Music of Jean Coulthard
THE ORCHESTRAL MUSIC OF JEAN COULTHARD: A CRITICAL ASSESSMENT by David Gordon Duke B.Mus,, University of British Columbia, 1971 M.A., University of North Carolina, 1973 A Dissertation Submitted in Partial Fulfilment of the A C C E P T B I) Requirements for the Degree of h ACJULl’Y O F G U A O IlA t E S I U D l£ $ d o c t o r o f P h ilo s o p h y in the School of Music We accept this dissertation as conforming /Vi , 7, to the required standard V -rr4- . « f "T" " — ------------------ Dr, Gordaiu Lazarevich, Supervisor (School of Music) Outside Member (Department of English) Dr. Harald Krebs, Departmental Member (School of Music) Dr, Erich Schwandt, Departmental Member (School of Music) Dr, Elizabeth Tumasonis, Ctujlside Member (Department of History of Art) Colin Miles, External Examiner (Director, B.C. Region, Canadian Music Centre) © DAVID GORDON DUKE, 1993 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. ‘)t oi (.on) (hard. 4 0 1 t i l l UrtJcvu< Stl-w t, lViv;t l a n o o o v r r , HrUir.h < oiumbia. A p r il 2a, I'si V. itoin U May Courerht s ii.v prrminutni to Davit! o*r«.hm imla* tr> makr r.uch quotaUnm; arid reformer: i l« m,v pabliHhed mid unpublished muwicul rt-urm, nmnmioript partieellan, and puhltnhod and unpubiSt-.hrd writing} nr.