AMS Newsletter August 2017
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Recasting Gender
RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Shelley Smith August, 2009 RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN Shelley Smith Thesis Approved: Accepted: _________________________________ _________________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. James Lynn _________________________________ _________________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _________________________________ _________________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. THE SHAPING OF A FEMINIST VERNACULAR AND ITS APPLICATION TO 19TH-CENTURY MUSIC ..............................................1 Introduction ..............................................................................................................1 The Evolution of Feminism .....................................................................................3 19th-Century Gender Ideologies and Their Encoding in Music ...............................................................................................................8 Soundings of Sex ...................................................................................................19 II. ROBERT & CLARA SCHUMANN: EMBRACING AND DEFYING TRADITION -
Lesbian and Gay Music
Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez. -
An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
Orientalism and New Musicology
UDK 78:81’373.46 Izvorni znanstveni rad Rukopis primljen 13. VII. 2018. Prihvaćen za tisak 12. X. 2018. Sanela Nikolić Faculty of Music University of Arts in Belgrade [email protected] ORIENTALISM AND NEW MUSICOLOGY The aim of this paper is to outline the history of the concept of Orientalism in the field of New musicology and to point out that musicological discussions of Orientalism significantly changed disciplinary profile of musicology in the direction of interdisciplinary or contextual musicology. The area of Postcolonial studies has been recognized by New musicology as a possible starting point for theorizing the new issues related to the questions of music, race, ethnic and national otherness, and European colonialism. In 1991, with the publication of Ralph P. Locke’s text “Constructing the Oriental ‘Other’: Saint-Saëns’s Samson et Dalila” in Cambridge Opera Journal, the musicological research of the European professional music tradition from the aspects of postcolonial theories has been institutionalized and the concept of Orientalism has been introduced into the field of research objects of musicology. What is present as the common aspects of all musicological studies that address the issue of musical representations of the Orient are interdisciplinarity and contextuality. Contrary to the reduction of the complex Western European music practices to the idea of an autonomous work of music devoted to an aesthetic enjoyment, postcolonial musicology proposed poststructuralist analytical models of text and discourse and affirm the interest in the context of work of music. In that manner, musicology has been updated as a discipline that autocritically approaches Western European professional music practice by seeing it/ self as only one of the possible historical formations of culture/knowledge in which there are visible clusters, conflicts, and aspirations to present (Western) European capitalist patriarchal politics as a universal economic, political and cultural power. -
FIVE CHALLENGES and SOLUTIONS in ONLINE MUSIC TEACHER EDUCATION Page 1 of 10
FIVE CHALLENGES AND SOLUTIONS IN ONLINE MUSIC TEACHER EDUCATION Page 1 of 10 Volume 5, No. 1 September 2007 FIVE CHALLENGES AND SOLUTIONS IN ONLINE MUSIC TEACHER EDUCATION David G. Hebert Boston University [email protected] “Nearly 600 graduate students?”1 As remarkable as it may sound, that is the projected student population for the online graduate programs in music education at Boston University School of Music by the end of 2007. With the rapid proliferation of online courses among mainstream universities in recent years, it is likely that more online music education programs will continue to emerge in the near future, which begs the question of what effects this new development will have on the profession. Can online education truly be of the same quality as a traditional face-to-face program? How is it possible to effectively manage such large programs, particularly at the doctoral level? For some experienced music educators, it may be quite difficult to set aside firmly entrenched reservations and objectively consider the new possibilities for teaching and research afforded by recent technology. Yet the future is already here, and nearly 600 music educators have seized the opportunity. Through online programs, the internet has become the latest tool for offering professional development to practicing educators who otherwise would not have access, particularly those currently engaged in full-time employment or residing in rural areas. Recognizing the new opportunities afforded by recent technological developments, Director of the Boston University School of Music, Professor Andre De Quadros and colleagues launched the nation’s first online doctoral program in music education in 2005. -
Gary Moore: Ohne Bluesrock Kein Erfolg
EUR 7,10 DIE WELTWEIT GRÖSSTE MONATLICHE 05/07 VINYL -/ CD-AUKTION Mai Gary Moore: Ohne Bluesrock kein Erfolg. 2 Oldie-Markt 5/07 Schallplattenbörsen Plattenbörsen 2007 Schallplattenbörsen sind seit einigen Jahren fester Bestandteil der europäischen Musikszene. Steigende Besucherzahlen zeigen, dass sie längst nicht mehr nur Tummelplatz für Insider sind. Neben teuren Raritäten bieten die Händler günstige Second-Hand-Platten, Fachzeitschriften, Bücher Lexika, Poster und Zubehör an. Rund 250 Börsen finden pro Jahr allein in der Bundesrepublik statt. Oldie-Markt veröffentlicht als einzige deutsche Zeitschrift monatlich den aktuellen Börsenkalender. Folgende Termine wurden von den Veranstaltern bekannt gegeben: Datum Stadt/Land Veranstaltungs-Ort Veranstalter / Telefon 28. April Mannheim Rosengarten Wolfgang W. Korte (061 01) 12 86 60 28. April Halle Händelhalle First & Last (03 41) 699 56 80 29. April Trier Europahalle Wolfgang W. Korte (061 01) 12 86 60 29. April Braunschweig Stadthalle First & Last (03 41) 699 56 80 29. April Ulm Donauhalle Robert Menzel (07 31) 605 65 29. April Innsbruck/Österreich Hütterheim Werner Stoschek (085 09) 26 09 5. Mai Passau X-Point Halle Werner Stoschek (085 09) 26 09 12. Mai Karlsruhe Badnerlandhalle Wolfgang W. Korte (061 01) 12 86 62 12. Mai Regensburg Antonius Halle Werner Stoschek (085 09) 26 09 13. Mai Leipzig Werk II First & Last (03 41) 699 56 80 13. Mai München Elserhalle Skull Concerts (089) 45 67 87 56 19. Mai Salzburg/Österreich Kleingmainer Saal Werner Stoschek (085 09) 26 09 20. Mai Köln Theater am Tanzbrunnen Wolfgang W. Korte (061 01) 12 86 62 27. Mai Neerkant/Holland De Moost Oldies Club (00 31) 774 65 35 69 Achtung! An Alle Leser! Einsendeschluss für die Aution 343 ist der 14. -
Concert Program
FLAGLER MUSEUM THE STRADIVARI QUARTET February 7, 2012 7:30 p.m. Sponsored by WILLIAM R. KENAN, JR. CHARITABLE TRUST THE STRADIVARI QUARTET Xiaoming Wang Soyoung Yoon Lech Antonio Uszynski Maja Weber violin violin viola cello PROGRAM String Quartet in G minor, D. 173 FRANZ SCHUBERT Allegro con brio Andantino Menuetto: Allegro vivace Allegro String Quartet No. 4 BÉLA BARTÓK Allegro Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto INTERMISSION String Quartet in A minor, Op. 51, No. 2 JOHANNES BRAHMS Allegro non troppo Andante moderato Quasi Minuetto, moderato Chamber music, as we know it, began in the Baroque era with early trio sonatas, and some of history’s greatest composers used chamber music as a vehicle to create their most profound and important works. Others used the medium as an outlet for fun and lighthearted entertainment. The music was traditionally performed in homes. The Flagler name has long been associated with great music, as Henry and Mary Lily Flagler frequently hosted musical performances in Whitehall’s elaborate Music Room. The Flagler Museum Music Series captures the spirit of traditional chamber music, and welcomes world renowned performers to the finest chamber music venue in South Florida. Here, performers and visitors can experience chamber music as it was intended in a gracious and intimate setting. Due to its intimate nature, chamber music has been described as “the music of friends.” Consequently it is frowned upon to use stages and amplifying devices. The audio devices you will see tonight record the performance for national public radio broadcast and archival purposes. -
Mozart's Music of Friends
Cambridge University Press 978-1-107-09365-2 - Mozart’s Music of Friends: Social Interplay in the Chamber Works Edward Klorman Frontmatter More information Mozart’s Music of Friends In 1829 Goethe famously described the string quartet as “aconver- sation among four intelligent people.” Inspired by this metaphor, Edward Klorman’s study draws on a wide variety of documentary and iconographic sources to explore Mozart’s chamber works as “the music of friends.” Illuminating the meanings and historical foundations of comparisons between chamber music and social interplay, Klorman infuses the analysis of sonata form and phrase rhythm with a performer’s sensibility. He develops a new analytical method called multiple agency that interprets the various players within an ensemble as participants in stylized social intercourse – characters capable of surprising, seducing, outwitting, and even deceiving one another musically. This book is accompanied by online resources that include original recordings performed by the author and other musicians, as well as video analyses that invite the reader to experience the interplay in time, as if from within the ensemble. edward klorman is Assistant Professor of Music Theory and Viola at Queens College and The Graduate Center, City University of New York (CUNY). He also teaches graduate analysis seminars and chamber music performance at The Juilliard School, where he was founding chair of the Music Theory and Analysis department. Committed to intersections between musical scholarship and per- formance, he currently serves as co-chair of the Performance and Analysis Interest Group of the Society for Music Theory. He has performed as guest artist with the Borromeo, Orion, and Ying Quar- tets and the Lysander Trio, and he is featured on two albums of chamber music from Albany Records. -
The Musical Worlds of Julius Eastman Ellie M
9 “Diving into the earth”: the musical worlds of Julius Eastman ellie m. hisama In her book The Infinite Line: Re-making Art after Modernism, Briony Fer considers the dramatic changes to “the map of art” in the 1950s and characterizes the transition away from modernism not as a negation, but as a positive reconfiguration.1 In examining works from the 1950s and 1960s by visual artists including Piero Manzoni, Eva Hesse, Dan Flavin, Mark Rothko, Agnes Martin, and Louise Bourgeois, Fer suggests that after a modernist aesthetic was exhausted by mid-century, there emerged “strategies of remaking art through repetition,” with a shift from a collage aesthetic to a serial one; by “serial,” she means “a number of connected elements with a common strand linking them together, often repetitively, often in succession.”2 Although Fer’s use of the term “serial” in visual art differs from that typically employed in discussions about music, her fundamental claim I would like to thank Nancy Nuzzo, former Director of the Music Library and Special Collections at the University at Buffalo, and John Bewley, Archivist at the Music Library, University at Buffalo, for their kind research assistance; and Mary Jane Leach and Renée Levine Packer for sharing their work on Julius Eastman. Portions of this essay were presented as invited colloquia at Cornell University, the University of Washington, the Graduate Center of the City University of New York, Peabody Conservatory of Music, the Eastman School of Music, Stanford University, and the University of California, Berkeley; as a conference paper at the annual meeting of the Society for American Music, Denver (2009), and the Second International Conference on Minimalist Music, Kansas City (2009); and as a keynote address at the Michigan Interdisciplinary Music Society, Ann Arbor (2011). -
Gaspar Van Weerbeke New Perspectives on His Life and Music Gaspar Van Weerbeke New Perspectives on His Life and Music
Gaspar van Weerbeke New Perspectives on his Life and Music Gaspar van Weerbeke New Perspectives on his Life and Music edited by Andrea Lindmayr-Brandl and Paul Kolb Centre d’études supérieures de la Renaissance Université de Tours / du Collection « Épitome musical » dirigée par Philippe Vendrix Editorial Committee: Hyacinthe Belliot, Vincent Besson, Camilla Cavicchi, David Fiala, Christian Meyer, Daniel Saulnier, Solveig Serre, Vasco Zara Advisory board: Andrew Kirkman (University of Birmingham), Yolanda Plumley (University of Exeter), Jesse Rodin (Stanford University), Richard Freedman (Haverford College), Massimo Privitera (Università di Palermo), Kate van Orden (Harvard University), Emilio Ros-Fabregas (CSIC-Barcelona), omas Schmidt (University of Hudders eld), Giuseppe Gerbino (Columbia University), Vincenzo Borghetti (Università di Verona), Marie-Alexis Colin (Université Libre de Bruxelles), Laurenz Lütteken (Universität Zürich), Katelijne Schiltz (Universität Regensburg), Pedro Memelsdor¦ (Chercheur associé, Centre d'études supérieures de la Renaissance–Tours), Philippe Canguilhem (Université de Toulouse Le Mirail) Layout: Vincent Besson Research results from: Auª rian Science Fund (FWF): P¬®¯°±. Published with the support of Auª rian Science Fund (FWF): PUB ®°³-G¬®. Cover illu ration: Image ®°³´¬µ°¯ © Giuseppe Anello – Dreamª ime.com Coat of arms of Ludovico Maria Sforza ISBN 978-2-503-58454-6 e-ISBN 978-2-503-58455-3 DOI 10.1484/M.EM-EB.5.117281 ISSN 2565-8166 E-ISSN 2565-9510 D/// Dépôt légal : F © ¸¹º, Brepols Publishers n.v., Turnhout, Belgium – CESR, Tours, France. Open access: Except where otherwise noted, this work is licensed under a Creative Commons Attribution 4.0 Unpor- ted License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ Printed in the E. -
THE ARMITAGE BALLET • MEREDITH MONK an ARTIST and HER MUSIC BROOKLYN ACADEMY of MUSIC Harvey Lichtenstein, President and Executive Producer
~'f& •. & OF MUSIC THE ARMITAGE BALLET • MEREDITH MONK AN ARTIST AND HER MUSIC BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer BAM Carey Playhouse November 20-22, 1987 presents MEREDITH MONK AN ARTIST AND HER MUSIC with ALLISON EASTER WAYNE HANKIN ROBERTEEN NAAZ HOSSEINI CHING GONZALEZ NICKY PARAISO ANDREA GOODMAN NURIT TILLES and guest artist BOBBY McFERRIN Music Composed by Lighting Designed by MEREDITH MONK· TONY GIOVANNETTI Costumes Designed by 1echnical Director Stage Manager YOSHIO YABARA DAVID MooDEY PEGGY GOULD Sound 1echnician Costume Assistant DAVE MESCHTER ANNEMARIE HOLLANDER Meredith Monk: An Artist And Her Music is presented in association with THE HOUSE FOUNDATION FOR THE AIUS, INC. The music events of the NEXT WAVE Festival are made possible, in part, with a grant from the MARY FLAGLER CARY CHARITABLE TRUST BROOKLYN ACADEMY OF MUSIC E i ;II-----,FEIS;~AL·1 SPONSORED BY PHILIP MORRIS COMPANIES INC. The 1987 NEXT WAVE Festival is sponsored by PllILIPMORRISCOMPANIES INC. The NEXT WAVE Production and Touring Fund and Festival are supported by: the NATIONAL ENDOWMENT FORTIlE AKfS, TIlEROCKEFELLER FOUNDATION, TIlEFORD FOUNDATION, TIlE ELEANOR NAYWR DANA CHARITABLE TRUST, PEW CHARITABLE TRUSTS, the BOOI'II FERRIS FOUNDATION, TIlE IlENRYLuCEFOUNDATlON, INC., theAT&if FOUNDATION, TIlEHOWARD GILMAN FOUNDATION, TIlEWILLIAM AND FIDRA HEWLEITFOUNDATlON, theMARY FLAGLER CARY CHARITAl'LETRUST, TllEHINDUJAFOUNDATlON, TIlEEDUCATIONAL FOUNDATION OFAMERICA, the MORGAN GUARANTY TRUST coMPANY, ROBERI' w. WILSON, 'DIEREFJ)FOUNDATION INC., theEMMA A. SIIEAFERCHARITABLE TRUST, SCHLUMBERGER, YVES SAINT LAURENT INTERNATIONAL, andtheNEW lQRK STATE COUNCD.. ON TIlE AR1K Additional funds for the NEXT WAVE Festival are provided by: TIlEBEST PRODUcm FOUNDATION, C~OLA ENTEKI'AINMENT, INC., MEET TIlECOMPOSER, INC., the CIGNA CORPORATION, TIlEWILLIAM AND MARY GREVE FOUNDATION, INC., the SAMUEL I. -
2 Facts About Contrafacta. Netherlandish-Italian Music in Saxo-Silesian Sources from the Late Fifteenth Century Ryszard J
2 Facts about Contrafacta. Netherlandish-Italian Music in Saxo-Silesian Sources from the Late Fifteenth Century Ryszard J. Wieczorek Department of Musicology, Adam Mickiewicz University of Poznań The scope and mechanisms of the reception of foreign repertory in fifteenth century Central Europe are still not well known. In contrast, during the sec- ond half of the sixteenth century and in the seventeenth century numerous Central European manuscripts (mostly tablatures) and collections of printed editions testify to the great popularity of Italian, French, and Netherlandish music. Furthermore, active reception of foreign repertory was revealed in many contrafacta, paraphrases, and parodies, sometimes unidentified for a long time and perceived as originals. Examples of this practice in Poland are Aleć nade mną Wenus, “the first Polish madrigal”, which is actually a con- trafactum of a vilotta by Franceso Patavino, or Date siceram moerentibus, “the best Polish motet”, which is a contrafactum of a chanson by Josquin Desprez, and finally, the alleged Bakwark song Albo już dalej trwać nie moge, which is an intabulated chanson by Pierre Sandrin1. In the German-speaking realm, strong predilection towards creating contrafacta is confirmed by Ger- man versions of Italian madrigals, prepared by Valentin Hausmann (Nurem- berg 1600, 1606, 1610), and later by Wrocław’s organist Ambrosius Profius (Leipzig 1627–1649). Throughout the entire seventeenth century, creating contrafacta, parodies and other transformations of foreign works, mostly Ital- ian, became almost a routine procedure of composers in Central Europe. However, this issue is almost unknown in the fifteenth century. There are some traces of reception of foreign patterns, predominantly in sources con- 16 Facts about Contrafacta..