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Approaches to the Private Collector and Collection of Theatrical
Private Passions, Public Archives: Approaches to the private collector and collection of theatrical ephemera in the context of the public theatre archive Eve Margitta Smith Department of Drama and Theatre Royal Holloway, University of London Submitted for the degree of Doctor of Philosophy 2016 Declaration of Authorship I, Eve Margitta Smith, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________27/09/2016 [2] Abstract This thesis considers the passions of the private collector of theatrical ephemera within the context of the public theatre archive. It interrogates the formation, the function, and the significance of the collection, foregrounding the idiosyncratic relationship between the collector and their collection. The eventual, though not inevitable, transition of a theatre collection from a private house to a public archive is interrogated throughout the thesis. The research concentrates on three theatre collections that have made the transition from a private space to the public archive: the Gabrielle Enthoven Collection at the Victoria and Albert Museum; the Mander and Mitchenson Theatre Collection at the University of Bristol, and the Roy Waters Theatre Collection at Royal Holloway, University of London. Theoretical and critical approaches from the fields of theatre history and historiography, archive and museum studies, and the practice and psychology of collecting -
The Beauties of Lucknow: an Urdu Photographic Album
Journal of Journal of urdu studies 1 (2020) 141-176 URDU STUDIES brill.com/urds The Beauties of Lucknow: An Urdu Photographic Album Kathryn Hansen Professor Emeritus, Department of Asian Studies, University of Texas at Austin, Austin, TX, USA [email protected] Abstract ʿAbbās ʿAlī of Lucknow published several volumes of photographs which were unique in being accompanied by text in English and Urdu. The Beauties of Lucknow (1874), an album of female performers and costumed actors from the Indar Sabhā, is attributed to him. Based on examination of the rare book in five archival locations, this article accounts for the variations among them. It distinguishes between the photographer’s authorial intentions and the agency of artisans, collectors, and others who altered the artifact at various stages. Comparison of the textual apparatus of the English and Urdu editions reveals the author’s mode of address to different audiences. The Urdu intro- duction, saturated with poetic tropes, provides insight into ways of viewing photo- graphs as formulated among the local cognoscenti. The article proposes that ʿAbbās ʿAlī’s book was meant as a private gift, as well as a publication for wider circulation. Keywords History of photography – ʿAbbās ʿAlī – Lucknow – female performers – Urdu theatre and drama 1 Introduction In 2014, a set of images from The Beauties of Lucknow, an Indian photographic album published in 1874, appeared online in Tasveer Journal from Bangalore. These photographs revived interest in early portraits of courtesans from the subcontinent, a topic of perennial fascination. The inclusion of costumed © Koninklijke Brill NV, Leiden, 2020 | doi:10.1163/26659050-12340011 142 Hansen actors from a well-known work of Urdu musical theatre, Indar Sabhā (The Assembly of King Indar), was particularly compelling. -
Remembering the Concentration Camps: Aleksander Kulisiewicz and His Concerts of Prisoners' Songs in the Federal Republic
7 Remembering the Concentration Camps Aleksander Kulisiewicz and His Concerts of Prisoners’ Songs in the Federal Republic of Germany BARBARA MILEWSKl In 1960, at an international symposium devoted to workers’ songs held in Lidice, the Czech village where the infamous Nazi reprisal killings took place during the war, the East German musicologist Inge Lammel first publically urged her col leagues to collect and record the music of the Nazi concentration camps. In an atmosphere of Cold War politics and ideology, her plea was no doubt understood less as a call to commemorate victims of ethnic persecution than as a desire to document the valiant cultural efforts of political prisoners who had done their part to defeat fascism. As founder and director of the Arheiterliedarchiv at the Akademie der Kiinste in East Berlin and the author of numerous writings on antifascist and revolutionary songs, Lammel was already a formidable scholar whose opinion carried significant weight with the participants.' Two Polish ethnographers in attendance, Jozef Lig§za and Adolf Dygacz, heard her call and returned to Communist Poland energized to help in this international effort. With Lig^za heading up the ethnographic division of the newly established Sl^ski Instytut Naukowy,^ the scholars sent out an official national press notice requesting that survivors come forward with songs they remembered from the camps. Responses trickled in, but by far the most help ful correspondent was Aleksander Kulisiewicz. He had spent some five years at Sachsenhausen as a Polish political prisoner; not only had he created his own songs there, but he had also memorized many more sung by his fellow inmates. -
Blues to Be There
JAZZ AT LINCOLN CENTER’S ESSENTIALLY ELLINGTON LIBRARY Wynton Marsalis, Managing and Artistic Director, Jazz at Lincoln Center Blues to Be There (from Newport Jazz Festival Suite) Duke Ellington and Billy Strayhorn Arranged by Billy Strayhorn As performed by Duke Ellington and His Famous Orchestra Transcribed and Edited by Mark Lopeman for Jazz at Lincoln Center Full Score This transcription was made especially for Jazz at Lincoln Center’s 2018–19 Twenty-Fourth Annual Essentially Ellington High School Jazz Band Program. Jazz at Lincoln Center and Jazz Lines Publishing gratefully acknowledge the cooperation and support provided in the publication of this year's Essentially Ellington music series: Founding leadership support for Essentially Ellington is provided by The Jack and Susan Rudin Educational and Scholarship Fund. Major support is provided by Jessica and Natan Bibliowicz, Alfred and Gail Engelberg, Casey Lipscomb, Dr. J. Douglas White and the King-White Family Foundation, Cheryl and Louis Raspino, Augustine Foundation, Ella Fitzgerald Charitable Foundation, and Charles Evans Hughes Memorial Foundation. NOTES ON PLAYING ELLINGTON 4. In Ellington’s music, each player should express the individuality More than one on a part makes it sound more like a concert band of his own line. He must find a musical balance of supporting and and less like a jazz band. At least 95% of modern-day large ensemble jazz playing comes out following the section leader and bringing out the character of the 11. This is acoustic music. Keep amplification to an absolute minimum; of three traditions: Count Basie’s band, Duke Ellington’s band, and the underpart. -
20210824 Recensieoverzichtplaten69tmheden
ARTIEST PLAAT LABEL RECENSENT NR. 1000+1 Butterfly Garden El Negocito Fluitman 224 3 Brave Souls 3 Brave Souls Challenge Korten 191 3/4 Peace 3/4 Peace El Negocito Loo, te 207 3/4 Peace Rainy Days On The Common Land El Negocito Loo, te 250 37 Fern 37 Fern TryTone Loo, te 348 3Hands Clapping Shaman Dance Juice Junk Records Korten 99 3times7 Squeeze The Lemon Eigen Beheer Hollebrandse 281 4Beat6 Plays The Music Of Benny Goodman Vol. 1 Eigen Beheer Lammen 85 4tet Different Song Leo Records Loo, te 178 5 Up High 5 Up High Timeless Fluitman 273 6 Spoons, 1 Kitchen Blend LopLop Beetz 201 6ix Almost Even Further Leo Records Loo, te 187 A A.G.N.Z. (Azzolina, Govoni, Nussbaum & Zinno) Chance Meeting Whaling City Sound Fluitman 264 Aagre, Froy Cycle Of Silence ACT Fluitman 133 Aardvark Jazz Orchestra American Agonistes Leo Records Loo, te 100 Aardvark Jazz Orchestra Evocations Leo Records Loo, te 181 Aardvark Jazz Orchestra Impressions Leo Records Loo, te 226 Abate, Greg Magic Dance Whaling City Sound Valk, de 353 Abate, Greg & Phil Woods Kindred Spirits Live At Chan's Whaling City Sound Fluitman 257 Abate, Greg & Tim Ray Trio Road To Forever Whaling City Sound Fluitman 274 Abdelnour/Schild La Louve Wide Ear Loo, te 322 Abercrombie Quartet, John Wait Till You See Her ECM Korten 128 Abercrombie Quartet, John Within A Song ECM Korten 183 Abercrombie Quartet, John 39 Steps ECM Beetz 209 Abercrombie, John The Third Quartet ECM Korten 76 Abercrombie, John & John Ruocco Topics Challenge Fluitman 90 Ablanedo, Pablo ReContraDoble Creative Nation Music Fluitman 197 Abou-Khalil, Rabih Em Português Enja Loo, te 101 Abou-Khalil, Rabih Selection Enja Loo, te 131 Abou-Khalil, Rabih Trouble In Jerusalem Enja Loo, te 150 Abrams, Jess Growing Up Challenge Huser 93 Abrams, Muhal Richard Sound Dance Pi Recordings Loo, te 161 Absolute Ensemble (ft. -
Art at Vassar, Spring/Summer 2015
A publication for the members of The Frances Lehman Loeb Art Center Spring/Summer 2 015 FROM THE DIRECTOR Collections and Exhibitions: A Reciprocal Relationship At many museums, including ours, a link is often sought between the permanent collection and the exhibitions that make up the temporary exhibition schedule. In this issue of Art at Vassar we feature two spring exhibitions, Through the Looking Glass: Daguerreotype Masterworks from the Dawn of Photography and Embodying Compassion in Buddhist Art: Image, Pilgrimage, Practice. These exhibitions come on the heels of XL: Large-Scale Paintings from the Permanent Collection. Each exhibition serves as a counterpart, or sometimes even a counterpoint, to the many works in our permanent installation and our rich collection in storage. Until very recently, in spite of having a very creditable photography collection, we had only a couple of daguerreotypes to show our visitors. This paucity of early photography changed with the gift last year of over fifty daguerreotypes, ambrotypes, and tintypes from Michael Mattis and Judith Hochberg. A more expansive look at the daguerreotype now makes a good deal more sense for us to present. If you think of it in musical terms, the works in the permanent collection are the jazz melody and the exhibition represents the variations on that melodic line. Thus, having a collection made the exhibition more attractive. On the other hand, with Embodying Compassion, we had a different dynamic at work. When Professor Karen Lucic came up with the idea of treating the Bodhisattva of Compassion (Avalokiteshvara in India; Kannon in Japan; Guanyin in China) we had little in the collection to support this specific idea aside from our very fineNachi Pilgrimage Mandala painting. -
Analysis of John Weinzweig's Private
SUSPICIOUSLY SIGNIFICANT NONSENSE: A (QUEER) ANALYSIS OF JOHN WEINZWEIG’S PRIVATE COLLECTION THROUGH LIP-SYNCED PERFORMANCE ANTHONY LOMAX A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO OCTOBER 2018 © ANTHONY LOMAX, 2018 ii Abstract This thesis presents two different analyses of John Weinzweig’s Private Collection, a group of nine songs for soprano and piano that was completed in 1975. The first analysis is text- based and draws on the existing literature, my own reading of the score, and archival research. The second is a performance-based analysis focused on a lip-synced performance of Mary Lou Fallis and Monica Gaylord’s recording of the composition, which I personally directed. I also draw upon data collected from audience surveys and performer interviews in this analysis. Here I consider various layers of performativity in Private Collection and ground my work in performance studies and queer scholarship. I argue that lip-syncing is a queer methodology that can illuminate the fragmented and multiple meanings that emerge from recorded music. iii Dedication For Andrew, my husband and friend, the only person alive for whom I would sing “Man, I Feel Like a Woman” in a leopard-print jumpsuit. iv Acknowledgements I would like to thank my supervisory committee of Louise Wrazen, Sherry Johnson, and Magdalena Kazubowski-Houston, who gave me space to create a truly unusual thesis project; Stephanie Martin and Darcey Callison, members of my defense committee; Daniel Weinzweig, who gave me permission to use photographed portions of his father’s archived score in this thesis; Darren Yearsley at the CBC archives for sending me the recording of the radio broadcast in which Private Collection was premiered; John S. -
The Samawi Collection Photography & New Media Volume ǁ
The Samawi Collection Photography & New Media Volume ǁ Published by Ayyam Gallery ayyam art center The Samawi Collection Alserkal Avenue, B-11, Street 8, Al Quoz 1 PO Box 283174 Dubai, UAE Photography & New Media Phone + 971 4 323 6242, Fax + 971 4 323 6243 [email protected], www.ayyamgallery.com Volume ǁ 2 We would like to thank all the team at Ayyam Gallery and the Ayyam Art Center who worked hard and long to make this exhibition and catalogue possible. We would also like to thank all the artists and galleries who produced and gave us the opportunity to purchase these great works. Finally we would like to thank the United Arab Emirates and its leaders for having the vision to allow art lovers and patrons from all over the world to call this great nation home. Khaled Samawi and Hisham Samawi 4 Modern Patronage of the Arts and the Art Market Introduction The path to artistic creation is one that is in a perpetual state of flux. The desire to create is inherent to mankind. Though it is the delicate balance between the desire and the realization in which patronage has flourished for centuries, the two are intertwined, often unsteadily, yet this balancing act is required and ultimately beneficial to the continued production of visual culture. Twenty-first century patronage of the arts has evolved from its origins as a binary relationship to four distinct models: Private Collectors, Corporations, Governmental, and Dealers. The private individual as a collector has emerged as one of the driving forces of the modern art market. -
Fischoff National Chamber Music Competition
THE 47TH ANNUAL FISCHOFF NATIONAL CHAMBER MUSIC COMPETITION Thursday, May 7 – Saturday, May 9, 2020 TheFischoff fischoffchambermusic Fischoff FischoffNCMC Fischoff.org THE 47TH ANNUAL WELCOME TO THE FISCHOFF Elected Officials Letters ................................ 3 Fischoff President Letter & Board of Directors ............. 4 Letter from the Artistic Director. .5 Letter from the University President. 6 Thursday, May 7 – Saturday, May 9, 2020 THE FISCHOFF NATIONAL CHAMBER MUSIC ASSOCIATION Staff ................................................8 National Advisory Council ..............................10 2020 Competition Fast Facts ...........................11 History of The Fischoff .................................12 History of The Competition .............................13 Double Gold Tours .................................14–15 Peer Ambassadors for Chamber Music (PACMan) ..........17 Soirées ..............................................17 Fischoff Chamber Music Academy .......................18 Fischoff Welcomes New Executive Director. 19 THE 47TH ANNUAL FISCHOFF COMPETITION Screening Committees .................................21 Junior Division Jurors ..............................22–23 Senior Division Jurors .............................24–25 Medal and Prize Sponsors ..........................26–27 A NOTE OF THANKS Emilia Romagna Festival ..............................28 The Fischoff National Chamber Music Association Competition Schedule of Events .................... 30–31 Board of Directors and Staff gratefully acknowledge -
Black and Blue 33.092 1974 Grande Parade Du Jazz Black and Blue 950.504
Jazz Interpret Titel Album/Single Label / Nummer Jahr «Nice All Stars» black and blue 33.092 1974 Grande Parade du Jazz black and blue 950.504 Abdul-Malik Ahmed The Music of New Jazz NJ 8266 1961, 2002 Adams Pepper 10 TO 4 AT THE 5 SPOT Riverside 12-265 1958, 1976 Adderley Julian "Cannonball" in the land of EmArcy MG 36 077 1956 Adderley Cannonball sophisticated swing EmArcy MG 36110 Adderley Cannonball Jump for Joy Mercury MG 36146 1958 Adderley Cannonball TAKES CHARGE LANDMARKLLP-1306 1959, 1987 Adderley Cannonball African Waltz Riverside OJC-258 (RLP-9377) 1961 Adderley Cannonball Quintet Plus Riverside OJC-306 (RLP-9388) 1961 Adderley Cannonbal Sextet In New York Riverside OJC-142 (RLP-9404) 1962 Adderley Cannonball Cannonball in Japan Capitol ECJ-50082 1966 Adderley Cannonball Masters of jazz EMI Electrola C 054-81 997 1967 Adderley Cannonball Soul of the Bible SABB-11120 1972 Adderley Cannonball Nippon Soul Riverside OJC-435 (RLP-9477) 1990 Adderley Cannonball The quintet in San Francisco feat. Nat Adderley Riverside OJC-035 (RLP-1157) Adderley Cannonball Know what I mean ? with Bill Evans Riverside RLP 9433, alto AA 021 Adderley Julian Portrait of Cannonball Riverside OJC-361 (RLP-269) 1958 Adderley Nat We remember Cannon In + Out Records 7588 1991 Adderley with Milt Jackson Things are getting better Riverside OJC-032 (RLP-1128) 1958 Adderly Julian "Cannonball" & strings 1955 Trip Jazz TLP-5508 Albam Manny Jazz lab vol.1 MCA Coral PCO 7177 1957, 1974 Alexander Monty Monty strikes again MPS 68.044 1974, 1976 Alexander Monty Overseas -
Music Publishing in New Orleans in the Nineteenth Century Peggy C
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School Summer 7-20-1977 Music Publishing in New Orleans in the Nineteenth Century Peggy C. Boudreaux Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Part of the Music Commons Recommended Citation Boudreaux, Peggy C., "Music Publishing in New Orleans in the Nineteenth Century" (1977). LSU Historical Dissertations and Theses. 8225. https://digitalcommons.lsu.edu/gradschool_disstheses/8225 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. MANUSCRIPT THESES Unpublished theses submitted for the Master’s and Doctor's Degrees and deposited in the Louisiana State University Library are available for inspection. Use of any thesis is limited by the rights of the author. Bibliographical references may be noted, but passages may not be copied unless the author has given permission. Credit must be given in subsequent written or published work. A Library which borrows this thesis for use by its clientele is expected to make sure that the borrower is aware of the above restrictions. LOUISIANA STATE UNIVERSITY LIBRARY MUSIC PUBLISHING IN NEW ORLEANS IN THE NINETEENTH CENTURY A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts i n The School of Music by Peggy C. -
The Decision Not to Emigrate
The Decision Not to Emigrate Land Prospecting in Eastern Kansas and Nebraska in 1886 by Dennis E. Suttles September 6th 1886 Ills. Greene Co. I, J.W. Reynolds with my Brother. joined by another friend prepared a covered wagon with provissions & cooking and Camp- ing Utensils have the day mentioned started on a prospecting tour for Missouri Kansas and Nebraska with good health clear wether and every thing Bright before us.1 hus began a journal that John Wilson Reynolds Jr. wrote as he, his brother Richie Campbell Reynolds, and a dis- tant cousin, Ulysses Samuel Pinkerton, traveled through Illinois, Missouri, Kansas, and Nebraska on a land prospecting tour. They left the small town of Berdan, Illinois, some sixty miles north of St. Louis, Missouri, on the morning of September 6, 1886. For the next thirty-four days they traveled by covered wagon over county and Tstate roads recording their observations in a small notebook they carried with them on the trip. Dennis E. Suttles has been an assistant editor with the Papers of Abraham Lincoln since 1990. He holds a master’s degree in history from the University of Illi- nois at Springfield and a master’s degree in library and information science from the University of Illinois at Urbana/Champaign. He is a co-editor of From Court- room to Classroom: The Lincoln Legal Papers Curriculum (Springfield, Ill.: Papers of Abraham Lincoln, 2002). 1. John Wilson Reynolds, “Journal,” September 6–October 10, 1886, private collection of Betty and Harlan Van Gerpen, Cedar Falls, Iowa. The jour- nal passed from Richie Reynolds to his son Cleatus, who passed it to his daughter Betty Reynolds Van Gerpen.