DOCSLIB.ORG

AMS/SMT Columbus 2002

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
AMS/SMT Columbus 2002 AMS/SMT Columbus 2002 Abstracts Contents 5 STRAVINSKY SKETCHES AND LES NOCES (AMS/SMT) 7 CONTROLLING PASSIONS: WOMEN, MUSIC, AND DESIRE IN EARLY MODERN EUROPE (AMS) 9 NINETEENTH-CENTURY OPERA (AMS) 11 TECHNOLOGY AND EXPRESSION (AMS) 13 MAHLER AND BERG (AMS) 16 STYLE, IDEOLOGY, AND MUSIC OF THE AMERICAS (AMS) 18 RHYTHM, METER, AND CANON (AMS) 20 TOPICS IN NINETEENTH-CENTURY MUSIC (SMT) 22 RACE AND RECEPTION (SMT) 23 INTERTEXTUALITY AND IMPROVISATION IN POPULAR MUSIC (SMT) 25 ROCK, FOLK, AND THE GREAT WHITE WAY: TWENTIETH- CENTURY POPULAR MUSIC FROM A POST-MILLENNIAL PERSPECTIVE 27 MUSIC THEORY IN GERMANY: ORIGINS, CONCEPTIONS, AND INSTITUTIONS 31 PRIMO OTTOCENTO OPERA AND BEYOND (AMS) 33 BEETHOVEN AND FREEDOM (AMS) 35 MUSICAL LANDSCAPES AND ECOLOGIES (AMS) 37 POPULAR SONG AND JAZZ (AMS) 39 SEVENTEENTH-CENTURY TOPICS (AMS) 41 MEDIEVAL TOPICS (AMS) 43 SCHUBERT STUDIES (SMT) 45 TRANSFORMATIONAL THEORY (SMT) 47 THE COGNITION OF LISTENING AND PERFORMANCE AN OHIO PERSPECTIVE 49 WONDROUS VOICES (AMS) 51 POULENC, BRITTEN, AND THE (HOMO)EROTIC (AMS) 53 GLOBAL HYBRIDITIES (AMS) 55 AESTHETICS AND THE LATE NINETEENTH-CENTURY SYM- PHONY 58 THE PRACTICE OF PERFORMANCE (AMS) 60 RENAISSANCE TOPICS (AMS) 62 TWELVE-TONE TOPICS (SMT) 64 ADORNOS UNKNOWN SCHUBERT: FOUR NEW APPROACHES TO MUSICAL SUBSTANCE 66 TEACHING AURAL SKILLS (SMT) 67 DEVELOPMENT AND CLOSURE IN BACH (SMT) 68 THE MUSIC OF NAPLES AND SOUTHERN ITALY, 16001800 68 STEPPING UP THE LADDER: FINDING EMPLOYMENT IN MUSIC THEORY: A PANEL DISCUSSION AMS/SMT Columbus 69 WOMEN IN JAZZ: ROLES AND VOICES 72 THE MUSIC OF MAX REGER (AMS/SMT) 74 MUSIC AND THE SELF IN CINQUECENTO ITALY (AMS) 76 MUSIC AND THE PUBLIC SPHERE (AMS) 78 THE PAST IN THE PRESENT (AMS) 81 VERDI (AMS) 83 MUSIC IN THE MARKETPLACE (AMS) 84 GENDER AND THE TEACHING OF COMPOSITION (AMS) 85 METAPHOR, STRUCTURE, AND EXPRESSIVE MEANING (SMT) 87 MEDIEVAL AND RENAISSANCE STUDIES (SMT) 89 TEACHING TWENTIETH-CENTURY COMPOSITIONAL TECH- NIQUES TO UNDERGRADUATES: A SYMPOSIUM AND DEM- ONSTRATION 91 POSTER SESSION (SMT) 94 IMPROVISATORY SINGING TRADITIONS IN RENAISSANCE ITALY (AMS) 96 BAROQUE VOCAL MUSIC (AMS) 98 MODERNISM AND CINEMA (AMS) 100 BORDERLINES: GENDER, CLASS, AND CULTURE IN ENGLISH MUSIC, 18451945 (AMS) 102 LE NOZZE DI FIGARO (AMS) 104 THE MOVING BODY (AMS) 105 BROADWAY (AMS) 106 TEMPO AND TEXT IN MUSIC SINCE 1945 (SMT) 107 INTELLECTUAL HISTORY (SMT) 109 METATHEORY (SMT) 111 EIGHTEENTH-CENTURY TOPICS (AMS) 113 THE VICTORIAN ERA (AMS) 115 RITUAL, REPRESENTATION, AND THE THIRD REICH (AMS) 117 FRENCH MODERNITY (AMS) 119 NEW DISCOVERIES IN SPANISH AND LATIN AMERICAN LITURGICAL SOURCES (AMS) 122 RENAISSANCE SOURCES (AMS) 123 AESTHETICS, RELIGION, AND GERMAN NATIONALISM (AMS) 124 FORMAL FUNCTIONS (SMT) 126 TWENTIETH-CENTURY HARMONY AND VOICE-LEADING (SMT) 128 CULTURES ELIDING, CULTURES COLLIDING: POSTCOLONIALISM, GLOBALISM, AND THE ANALYSIS OF MUSIC 132 INDEX OF AUTHORS, PANELISTS, AND SESSION CHAIRS Thursday afternoon, October STRAVINSKY SKETCHES AND LES NOCES (AMS/SMT) Gretchen Horlacher, Indiana University, Chair Questions of Metric Conflict in Stravinsky’s Histoire du soldat (1918), Based on a Study of the Musical Sketches Maureen A. Carr Pennsylvania State University All together there are pages of musical sketches for Histoire du soldat in two loca- tions: the Rychenberg Stiftung of the Stadt Bibliothèque Winterthur (SBW) and the Paul Sacher Foundation (PSF) in Basel. The pages range in size from approximately . x . cm. to . x . cm. and are almost evenly distributed between the two locations. Some of these sketches are on separate pieces of paper that are gathered together, or in general- ized sketchbooks or in two small sketchbooks devoted exclusively to the music for Histoire du soldat: one is in Basel, that Stravinsky entitled “Soldat,” and which Stravinsky labelled as a “Croquis;” the other is in Winterthur and is entitled by Stravinsky as “the soldier, the violin and the devil” (“le soldat, le violon et le diable”) in Russian and in French. It is apparent that Stravinsky worked among various sketch sources simultaneously. This presentation will focus on metric differences between the sketches and the nota- tion of the printed edition from four different sections of Histoire du soldat. These examples speak to different aspects of Stravinsky’s compositional practice with regard to meter and rhythm: () layering two meters simultaneously (regardless of notation) as in the “Valse” and the “Danse du diable,” () evidence of Stravinsky’s improvisational approach to the “Tango” and () his earliest rhythmic ideas for “Marche du soldat” in the sketches for Anthony and Cleopatra. Distortion, Subversion, and Expressive Heightening of Text in Stravinsky’s The Rake’s Progress Chandler Carter Hofstra University Richard Taruskin has observed that Stravinsky’s habit of distorting natural declamation in his text settings is not the result of oversight or incompetence, but is an integral part of the composer’s modernist aesthetic stance. Such “wrong” settings subvert the natural flow of language in the same way that Stravinsky subverts the conventional flow of melody, harmony, or rhythm. This paper will demonstrate a method of analyzing Stravinsky’s set- ting of text so as to better understand where and how he subverts natural declamation, and perhaps more importantly, where he does not. In his opera The Rake’s Progress (–), Stravinsky follows the natural sense of the text more closely than in any of his previous vocal works. This can be seen in the way he privileges the narrative function of the text, an approach no doubt influenced by the dramaturgy of eighteenth-century opera. Stravinsky’s new receptivity to the expressiveness of language is also evident in numerous individual settings. Building on a close examination of the sketches for the opera, this paper analyzes AMS/SMT Columbus examples of Stravinsky’s seemingly new attitude to setting words—a task that the com- poser claimed was “calculated to display Wystan Auden’s magnificent English text.” STRAVINSKY, LES NOCES, AND THE PROHIBITION AGAINST EXPRESSIVE TIMING Pieter van den Toorn University of California, Santa Barbara In anticipation of performances of Stravinsky’s Les Noces and the Symphonies of Wind Instruments at the joint AMS-SMT meeting, this paper will address several rhythmic issues with broad aesthetic implications, in particular, the tightly-knit :: tempo ratios in these works and, in performance, the apparent prohibition against expressive timing. (An early version of the first two scenes of Les Noces featured the mechanical piano, the pianola.) The need for exact, metronomic readings of Stravinsky’s music has been noted before, and in connection with the composer’s modernist style, its brittle, mechanical-like features. Rarely, however, has a rationale been sought along lines more specifically musical. In Les Noces, folk-like fragments are repeated relentlessly and literally (ritualistically). They are not var- ied or developed, strictly speaking, but are cut up and displaced metrically. Typically, the effect of this displacement is a disruption of the meter. Conflicting expectations of metrical parallelism are raised, expectations that catch the listener off guard. And if the disruptive effect is to materialize, then the beat must be held firmly and without expressive nuance. More to the point here, however, rhythmic processes of this kind can offer a way out of the doomsday aesthetics of “anti-humanism” (Ansermet, T.W. Adorno) with which the inflexible elements of Stravinsky’s idiom have been identified. The psychology of metrical entrainment and disruption can speak to the vitality of both Les Noces and the Symphonies, the ability of this music to excite in ways unrelated to the familiar socio-political equations. Stravinsky’s Svadebka and the Parisian artistic Land- scape Margarita Mazo The Ohio State University Anyone attempting to understand the reasons for the decade-long gestation and com- positional history of Svadebka is likely to be struck by the seemingly implausible correla- tion between the “subject matter”—a Russian peasant wedding—and the starkness of the work, particularly in the final orchestration with four pianos. Yet, in its ineluctable way, this final product made perfect sense. The issues of Svadebka as “the Turanian pinnacle” (Taruskin) are profound, but there are other factors—simultaneous, complementary, and no less pivotal. In approaching identity as a scattered and heterogeneous phenomenon that is open to the individual’s choice and negotiation, the period of the “Swiss” Svadebka can be seen as a time of new identity- construction for Stravinsky, as a Russian composer living in Switzerland and as an interna- tional figure situated within the Parisian cultural landscape. Stravinsky both shaped and was shaped by that landscape. Numerous artists representing different factions and living in Paris contemporaneously met and shared ideas. Like a sponge, he absorbed whatever artistic ideas came his way and excited his imagination, transforming them into metaphors of the musical compositional process. Using Svadebka’s sketches, this paper examines the early compositional process through the lenses of four concepts prevalent at the time: reality as just a pretext of “pure art;” Abstracts austerity of “the subject” stripped away from the narrative and the descriptive; detachment and the mechanical; and the “pure matter” as the formal means of structuring the whole. CONTROLLING PASSIONS: WOMEN, MUSIC, AND DESIRE IN EARLY MODERN EUROPE (AMS) Louise Litterick,
Load more

Recommended publications
  • THE ORGAN WORKS of HEALEY WILLAN THESIS Presented to The
    { to,26?5 THE ORGAN WORKS OF HEALEY WILLAN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of Master of Music By Robert L. Massingham, B. S., M. S. Denton, Texas August, 1957 PREFACE LHealey Willan occupies an unique position in Canadian Music and can be considered as that nation's "elder musical statesman." At the time of writing he is a septuagenarian and still very much active in his profession. Born and trained in England, he was well-established there when he was persuaded to come to Toronto, Canada, in 1913 at the age of thirty-three. Since that time he has contributed enor- iously to the growth of music in his adopted country, carry- ing on the traditions of his fine English background in music while encouraging the development of native individuality in Canadian music. Iillan has been first and foremost a musician of the church--an organist and choirmaster--a proud field which can boast many an eminent name in music including that of J. S. Bach. Willan's creativity in music has flowered in many other directions--as a distinguished teacher, as a lecturer and recitalist, and as a composer. He has written in all forms and for all instruments, but his greatest renown, at any rate in the TUnited States, is for his organ and choral works. The latter constitute his largest single body of compositions by numerical count of titles, and his organ works are in a close second place. iii Willants Introduction, Passaqaglia, and Fuue has been well-known for decades as one of the finest compositions in organ literature, enjoying a position alongside the organ works of Liszt, Yranck, and Reubke.
    [Show full text]
  • Pacini, Parody and Il Pirata Alexander Weatherson
    “Nell’orror di mie sciagure” Pacini, parody and Il pirata Alexander Weatherson Rivalry takes many often-disconcerting forms. In the closed and highly competitive world of the cartellone it could be bitter, occasionally desperate. Only in the hands of an inveterate tease could it be amusing. Or tragi-comic, which might in fact be a better description. That there was a huge gulf socially between Vincenzo Bellini and Giovanni Pacini is not in any doubt, the latter - in the wake of his highly publicised liaison with Pauline Bonaparte, sister of Napoleon - enjoyed the kind of notoriety that nowadays would earn him the constant attention of the media, he was a high-profile figure and positively reveled in this status. Musically too there was a gulf. On the stage since his sixteenth year he was also an exceptionally experienced composer who had enjoyed collaboration with, and the confidence of, Rossini. No further professional accolade would have been necessary during the early decades of the nineteenth century On 20 November 1826 - his account in his memoirs Le mie memorie artistiche1 is typically convoluted - Giovanni Pacini was escorted around the Conservatorio di S. Pietro a Majella of Naples by Niccolò Zingarelli the day after the resounding success of his Niobe, itself on the anniversary of the prima of his even more triumphant L’ultimo giorno di Pompei, both at the Real Teatro S.Carlo. In the Refettorio degli alunni he encountered Bellini for what seems to have been the first time2 among a crowd of other students who threw bottles and plates in the air in his honour.3 That the meeting between the concittadini did not go well, this enthusiasm notwithstanding, can be taken for granted.
    [Show full text]
  • The Atlanta Music Scene • WABE FM 90.1 Broadcast Schedule - July 2021 Host: Robert Hubert Producer: Tommy Joe Anderson
    The Atlanta Music Scene • WABE FM 90.1 Broadcast Schedule - July 2021 Host: Robert Hubert Producer: Tommy Joe Anderson Sundays at 10 P.M. at FM 90.1 Over-the-air & LIVE STREAM at wabe.org Tuesdays at 3 p.m. & Saturdays at 10 a.m. at 90.1-2 on WABE’s Classics Stream on your HD Radio, Internet Radio or online at WABE.org and with the WABE Mobile App available for free download at WABE.org Underwriting of the Atlanta Music Scene is provided by ACA Digital Recording with additional support from Robert Hubert. July 4, 2021 – 8:00pm - 10:00pm On Air Broadcast Preempted by “A Capitol Fourth” A Capitol Fourth is an annual July 4th tradition with a live concert direct from the steps of the U.S. Capitol. NPR is pleased to offer this special for broadcast again this year. Emanuel Ax, piano [HD-2 and Online Broadcasts as scheduled Tuesday, July 6 @ 3:00pm & Saturday July 10 @ 10:00am Johannes Brahms: Two Rhapsodies, Op. 79 George Benjamin: Piano Figures Frédéric Chopin: Three Mazurkas, Op. 50 Chopin: Nocturnes, Op. 62 No. 1 in B Major and Op. 15, No. 2 in F-Sharp Major Chopin: Andante spianato et Grande Polonaise brillante in E-Flat Major, Op. 22 [Recorded at Clayton State University’s Spivey Hall 03/24/2019] Program Time 01:06:42 July 11, 2021 – 10:00pm Paul Halley, organ J.S. Bach: Chorale Prelude on “In Dulci Jubilo” Maurice Dupre: Choral “In Dulci Jubilo” Paul Halley: Improvisation on “Good Christian Folk Rejoice” J.
    [Show full text]
  • The Romantic Trumpet Part Two
    110 HISTORIC BRASS SOCIETY JOURNAL THE ROMANTIC TRUMPET PART TWO Edward H. Tarr Continued from Historic Brass Society Journal, volume 5 (1993), pages 213-61. The two-part series is an expansion of an article written for Performance Practice Encyclopedia. We thank Roland Jackson, editor of this forthcoming reference work, for permission to we this material in HBSJ. For a Conclusion to Part One, containinga list oferrata, please see followingthe endnotes for the current installment. Summary of Part One In Part One, the author first attempted to show the various types of trumpets, cornets, and flugelhorns, both natural and chromaticized, that existed before the advent of valves, together with their literature. Before there were valved trumpets, for example, natural trumpets, etc., were made chromatic by the technique of hand-stopping or by being fitted with slides or keys. He then showed how the first valved brass instruments—in particular trumpets, and to a lesser extent, comets—were accepted into musical circles. Introduction to Part Two In Part Two, it is the author's aim to raise the flag on a forgotten figure in brass history— one who was reponsible not only for the development ofboth the Vienna valve and the rotary valve, but also for the creation of the first solo compositions for the newly invented valved trumpet: Josef Kail (1795-1871), the first professor of valved trumpet at the Prague Conservatory (served 1826-1867). For this reason, the central part of this study will be devoted to works hitherto unknown, written for the trumpet (and to a lesser extent the cornet, flugelhom, horn, and trombone) during his time.
    [Show full text]
  • Form in the Music of John Adams
    Graduate Theses, Dissertations, and Problem Reports 2018 Form in the Music of John Adams Michael Ridderbusch Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Ridderbusch, Michael, "Form in the Music of John Adams" (2018). Graduate Theses, Dissertations, and Problem Reports. 6503. https://researchrepository.wvu.edu/etd/6503 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Form in the Music of John Adams Michael Ridderbusch DMA Research Paper submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Theory and Composition Andrew Kohn, Ph.D., Chair Travis D. Stimeling, Ph.D. Melissa Bingmann, Ph.D. Cynthia Anderson, MM Matthew Heap, Ph.D. School of Music Morgantown, West Virginia 2017 Keywords: John Adams, Minimalism, Phrygian Gates, Century Rolls, Son of Chamber Symphony, Formalism, Disunity, Moment Form, Block Form Copyright ©2017 by Michael Ridderbusch ABSTRACT Form in the Music of John Adams Michael Ridderbusch The American composer John Adams, born in 1947, has composed a large body of work that has attracted the attention of many performers and legions of listeners.
    [Show full text]
  • Berliner Philharmoniker
    Berliner Philharmoniker Sir Simon Rattle Artistic Director November 12–13, 2016 Hill Auditorium Ann Arbor CONTENT Concert I Saturday, November 12, 8:00 pm 3 Concert II Sunday, November 13, 4:00 pm 15 Artists 31 Berliner Philharmoniker Concert I Sir Simon Rattle Artistic Director Saturday Evening, November 12, 2016 at 8:00 Hill Auditorium Ann Arbor 14th Performance of the 138th Annual Season 138th Annual Choral Union Series This evening’s presenting sponsor is the Eugene and Emily Grant Family Foundation. This evening’s supporting sponsor is the Michigan Economic Development Corporation. This evening’s performance is funded in part by The Andrew W. Mellon Foundation and by the Michigan Council for Arts and Cultural Affairs. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. The Steinway piano used in this evening’s performance is made possible by William and Mary Palmer. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. Special thanks to Bill Lutes for speaking at this evening’s Prelude Dinner. Special thanks to Journeys International, sponsor of this evening’s Prelude Dinner. Special thanks to Aaron Dworkin, Melody Racine, Emily Avers, Paul Feeny, Jeffrey Lyman, Danielle Belen, Kenneth Kiesler, Nancy Ambrose King, Richard Aaron, and the U-M School of Music, Theatre & Dance for their support and participation in events surrounding this weekend’s performances. Deutsche Bank is proud to support the Berliner Philharmoniker. Please visit the Digital Concert Hall of the Berliner Philharmoniker at www.digitalconcerthall.com.
    [Show full text]
  • An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways.
    [Show full text]
  • Three Centuries of French Medieval Music
    THREE CENTURIES OF FRENCH MEDIEVAL MUSIC Downloaded from NEW CONCLUSIONS AND SOME NOTES. By AMEDEE GASTOUE LL the historians of our art admit that from about the third http://mq.oxfordjournals.org/ quarter of the Xlth century till the corresponding quar- A ter of the XlVth century, it was French music which dictated its laws to Europe. Monks of Limoges and Discantus singers of Notre Dame de Paris, Troubadours of the South or Trouveres of the North, such were the first masters of French music, which was to enjoy such great influence in the artistic world of the Middle Ages. The few scholars who have studied t.liia epoch, so curious, at University of Iowa Libraries/Serials Acquisitions on May 28, 2015 have generally sought to specialise in one or other of the scientific branches implied by these researches: it is to such researches that must be attributed the merit of such general views as one can hope to be able to construct on this ground. But, it must be admitted, what each of these specialists has sought to deduce in his own sphere,—or indeed, the greater part of the general views, too hasty as to the conclusions, attempted so far, whatever may have been the merit of their authors,—cannot give an exact and precise idea of the development of our art at this period. I should like to contribute, therefore, by a few special points made in this study, to laying the foundations of a work which shall view the subject as a whole, a work of which I have been preparing the details for years, with a view to publishing later on the precious remains of French music of the Middle Ages.
    [Show full text]
  • Vahdah Olcott-Bickford Collection, 1800-2008
    http://oac.cdlib.org/findaid/ark:/13030/c8zp4c79 No online items Guide to the Vahdah Olcott-Bickford Collection, 1800-2008 Special Collections & Archives Oviatt Library California State University, Northridge 18111 Nordhoff St. Northridge, CA, 91330 URL: http://library.csun.edu/SCA Email: [email protected] Phone: (818) 677-2832 Fax: (818) 677-2589 © Copyright 2012 Special Collections & Archives. All rights reserved. Guide to the Vahdah IGRA/VOB 1 Olcott-Bickford Collection, 1800-2008 Overview of the Collection Collection Title: Vahdah Olcott-Bickford Collection Dates: 1800-2008 Bulk Dates: 1923-1979 Identification: IGRA/VOB Creator: Olcott-Bickford, Vahdah, 1885-1980 Physical Description: 88.71 linear feet Language of Materials: English French German Spanish; Castilian Italian Portuguese Repository: International Guitar Research Archives (IGRA) Abstract: Vahdah Olcott-Bickford, née Ethel Lucretia Olcott, was an professional teacher of the Guitar, most well known for her influential Guitar Method, Op. 25, and the Advanced Course, Op. 116. She also wrote numerous articles about the guitar, and corresponded with other musicians and enthusiasts about the instrument throughout her long career. The Vahdah Olcott-Bickford Collection documents Olcott-Bickford’s professional life as a classical guitarist, an avid member of various organizations in the United States, her work with guitarists around the world, and her personal life. The collection includes scores, letters, photographs, newspaper clippings, receipts, articles, lecture notes, and guest books, and dates from 1874-1980. Biographical Information: Ethel Lucretia Olcott was born on October 17, 1885 in Norwalk, Ohio. She was three years old when she and her parents moved to Los Angeles, California. At the age of eight she started guitar lessons with George Lindsay, a well-known classic guitarist.
    [Show full text]
  • Conceiving Musical Transdialection
    Conceiving Musical Transdialection By Richard Beaudoin, Harvard University and Joseph Moore, Amherst College Abstract: We illuminate the wandering notion of a musical transcription by reflecting on the various ways “transcription” and its cognates have been used in musical discourse, and by examining some notable 20th century transcriptions of J. S. Bach, which became increasingly loose through the decades. At root, musical transcription aims at preservation, but, as we bring out, exactly which musical ingredients are preserved across which transformations varies from transcriptional project to transcriptional project. We defend as intelligible one very interesting such project—we call it “transdialection”—by exploring an analogy with poetic translation, and by directly taking on some natural objections to it. We conclude that certain controversial transcriptions are justifiably and usefully so-called. 1 0. Transcription Traduced While it may not surprise you to learn that the first bit of music above is the opening of a chorale prelude by Baroque master, J. S. Bach, who would guess that the second bit is a so-called transcription of it? But it is—it’s a transcription by the contemporary British composer, Michael Finnissy. The two passages look very different from one another, even to those of us who don’t read music. And hearing the pieces will do little to dispel the shock, for here we have bits of music that seem worlds apart in their melodic makeup, harmonic content and rhythmic complexity. It’s a far cry from Bach’s steady tonality to Finnissy’s floating, tangled lines—a sonic texture in which, as one critic put it, real music is “mostly thrown into a seething undigested, unimagined heap of dyslexic clusters of multiple key- and time-proportions, as intricately enmeshed in the fetishism of the written notation as those 2 with notes derived from number-magic.”1 We’re more sympathetic to Finnissy’s music.
    [Show full text]
  • How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kane, Julie Ellen, "How the Villanelle's Form Got Fixed." (1999). LSU Historical Dissertations and Theses. 6892. https://digitalcommons.lsu.edu/gradschool_disstheses/6892 This Dissertation 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]. INFORMATION TO USERS This manuscript has been rqxroduced from the microfilm master. UMI films the text directfy firom the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiice, vdiile others may be from any typ e o f com pater 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 will indicate the deletion. Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, b^innm g at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Publikationsliste Wolfgang Sandberger (Stand März 2021)
    Publikationsliste Prof. Dr. Wolfgang Sandberger Stand: 01.08.2019 Prof. Dr. Wolfgang Sandberger Schriftenverzeichnis (Auswahl) Selbständige Schriften 1. Das Bach-Bild Philipp Spittas. Ein Beitrag zur Bach-Rezeption im 19. Jahrhundert [Beihefte zum Archiv für Musikwissenschaft hg. v. Hans Heinrich Eggebrecht in Verbindung mit Reinhold Brinkmann, Ludwig Finscher, Kurt von Fischer, Wolfgang Osthoff u. Albrecht Riethmüller, Bd. XXXIX], Stuttgart 1997. Rezensionen dazu (Auswahl) in: - Musik und Gottesdienst, Zeitschrift für evangelische Kirchenmusik Basel/Bern 5 (1997), S. 215 (Beat A. Föllmi). - Musiktheorie 13/1 (1998), S. 88–90 (Andreas Eichhorn). - Die Musikforschung 51/3 (1998), S. 366–67 (Herbert Lölkes). - Notes June (1999) (George B. Stauffer). - Music & Letters 80/1 (1999), S. 133–34 (Peter Ward Jones). 2. Bach 2000 – 24 Inventionen über Johann Sebastian Bach, Metzler-Verlag Stuttgart 1999. - Bach no Shogai to sono Jitsuzo. Bach ni tsuite no 24 sho no Invention (Japanisch). - Bach 2000. 24 Invenciones sobre Johann Sebastian Bach (Spanisch). - Bach 2000: 24 Inventions on Johann Sebastian Bach (Englisch). - Bach 2000. 24 Inventions sur Johann Sebastian Bach (Französisch). - Erschien auch als 24-teilige Hörfunk-Reihe beim NDR, ORB, WDR, SWR. 3. Imagination und Kanon. Der ‚Komponistenhimmel‘ in der Zürcher Tonhalle von 1895. Zweihundertstes Neujahrsblatt der Allgemeinen Musikgesellschaft Zürich auf das Jahr 2016, Winterthur/Schweiz 2016. DFG-Projekt Brahms-Briefwechsel-Verzeichnis (BBV): chronologisch-systematisches Verzeichnis sämtlicher Briefe von und an Johannes Brahms, gefördert von der Deutschen Forschungsgemeinschaft, www.brahms-institut.de, 2010. [gemeinsam mit Christiane Wiesenfeldt, Fabian Bergener, Peter Schmitz, Andreas Hund] © 2021 Brahms-Institut an der Musikhochschule Lübeck 1 Publikationsliste Prof. Dr. Wolfgang Sandberger Stand: 01.08.2019 Herausgeberschaften 1.
    [Show full text]