CALLAWAY CENTRE ARCHIVE Finding Aid for the Papers of Sir
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A History of Music Education in New Zealand State Primary and Intermediate Schools 1878-1989
CHRISTCHURCH COLLEGE OF EDUCATION LIBRARY A HISTORY OF MUSIC EDUCATION IN NEW ZEALAND STATE PRIMARY AND INTERMEDIATE SCHOOLS 1878-1989 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the University of Canterbury by Susan P. Braatvedt B.A. (Natal), Dip.Arts (Auckland), B.A.Rons (Canterbury) VOLUME II University of Canterbury 2002 Chapter Five 1950-1968 266 The growth ofschool music Chapter Five 1950 -1968 The growth of school music "music is fmnly established as an integral part of the school curriculum."l 5.1 Introduction This 18-year period was dominated by the National Party except for one term when Labour was voted back into office from 1958? When the National Party took office in December 1949, they inherited an educational system in which school music had not been particularly well served. Robert Chapman comments: The underlying changes in the golden 1960s were social rather than political, technological rather than legislative, individual rather than public ....The tertiary education boom, television, and the contraceptive pill were transforming family and personal relationships as well as the method by which politics were perceived. Government expenditure underwrote the surging development of health and education ... 3 In chapter one section 1.2 it was pointed out that the influence of English music education endured for many years. It is in this period that we begin to see a development of a more innovative approach which was more eclectic in its character. 1 AE. Campbell, Director-General of Education, AJHR. E-1, 1966, p.17. 2 R Chapman, 'From Labour to National,' The Oxford History ofNew Zealand, W.H. -
'And There Came All Manner of Choirs:' Melbourne's Burgeoning Choral Scene Since 1950 *
SYMPOSIUM: CHORAL MUSIC IN MELBOURNE ‘And there Came all Manner of Choirs:’ Melbourne’s Burgeoning Choral Scene since 1950 * Peter Campbell The great era of the community choral society in Melbourne—as for much of Australia—was probably the fifty years straddling the year 1900, but there is a continuous and frequently vigorous lineage traceable from the earliest years of settlement to the present. District choirs, including the North Melbourne and Collingwood Choral Societies, and the Prahran Philharmonic Society, were established in the period after 1850, during the prosperous gold- rush years,1 when wealth was able to support the cultural pursuits that were the trappings of higher social aspirations. Similar but later organisations include such choirs as the Malvern Choral Union, established in 1907.2 The Melbourne Philharmonic Society, which has been established in 1853, flourished after Bernard Heinze was appointed in 1937,3 especially once the ABC was engaging it for many performances, thus alleviating the Philharmonic of the burden of orchestral and promotional costs. This article examines state of choirs in Melbourne from the time of Heinze’s gradual lessening of duties at the Philharmonic, in the early 1950s, to the present day. Changes in purpose, structure and quantity (both in terms of the number of singers and the number of organisations) are noted, and social and musical reasons for the differences are advanced. A summary of Melbourne’s contemporary choral landscape is presented in order to illustrate the change that has occurred over the period under discussion. The lengthy, productive and intimate relationship between choir, conductor and broadcaster seen in the case of the Philharmonic, Bernard Heinze and the ABC, also exacted a great cost. -
Annual Report 1973
Annual Report 1973 National Gallery of Art 1973 ANNUAL REPORT National Gallery of Art Library of Congress Catalog Card Number 70-173826. All rights reserved. No part of this publication may be reproduced without the written permission of the National Gallery of Art, Washington, D.C. 20565. Cover photograph by Barbara Leckie; photographs on pages 14, 68, 69, 82, 88, inside back cover by Edward Lehmann; photograph on 87 by Stewart Bros; all other photographs by the photographic staff of the National Gallery of Art, Henry B. Seville, Chief. Nude Woman, Pablo Picasso, Ailsa Mellon Bruce Fund Woman Ironing, Edgar Degas, Gift of Mr. and Mrs. Paul Mellon CONTENTS 9 ORGANIZATION 11 DIRECTOR'S REVIEW OF THE YEAR 25 APPROPRIATIONS 26 CURATORIAL ACTIVITIES 26 Acquisitions and Gifts of Works of Art 50 Lenders 52 Reports of Professional Departments 7 5 ADVANCED STUDY AND RESEARCH 77 NATIONAL PROGRAMS 79 REPORT OF THE ADMINISTRATOR 79 Employees of the National Gallery of Art 82 Attendance 82 Building Maintenance and Security 83 MUSIC AT THE GALLERY 87 THE EAST BUILDING THE BOARD OF TRUSTEES OF THE NATIONAL GALLERY OF ART The Chief Justice, The Secretary of State, The Secretary of the Warren E. Burger William P. Rogers Treasury, George P. Shultz The Secretary of the Paul Mellon, President John Hay Whitney. Smithsonian Institution, Vice-President S. Dillon Ripley Lessing J. Rosenwald Franklin D. Murphy ORGANIZATION The 36th annual report of the National Gallery of Art reflects another year of continuing growth and change. Although technically established by Congress as a bureau of the Smithsonian Institution, the National Gallery is an autonomous and separately administered organization and is governed by its own Board of Trustees. -
ISME History Summary (English): Toward a Global Community: the History of the International Society for Music Education 1953-2003 by Marie Mccarthy
Toward a Global Community: The International Society for Music Eduction 1953-2003 by Marie McCarthy Celebrating 50 years 1953–2003 ISME History Summary (English): Toward a Global Community: The History of the International Society for Music Education 1953-2003 by Marie McCarthy Greetings On July 9, 2003, ISME celebrates 50 years since it was established in Brussels, Belgium, in 1953. It has been my privilege and honour to have been associated with ISME since its formation. A history such as this puts the work and achievements of the Society into perspective; it gives us an opportunity for reflection, and to acknowledge the contributions of so many loyal members and major organisations which have been players in the development of the Society. There could be no better choice of author to write this history than Marie McCarthy, who in its preparation has shown a deep interest and dedication to the task. This history is one of the many exciting projects celebrating the Golden Jubilee of ISME, and I commend it to you, the reader. Share it with colleagues and pass on the torch to your students who are the future of the Society. Encourage them to continue to work to uphold the fine aims and ideals of ISME. Frank Callaway Honorary President, ISME February 2003 Preface and Acknowledgments The idea of writing this history originated in the mind of then Honorary President, Sir Frank Callaway, to whom this book is dedicated. He approached me with the idea at the biennial conference in Amsterdam in 1996, and I am indebted to him for constant support and guidance right up to the end of his life. -
Sophie-Carmen Eckhardt-Gramatté
Eckhardt-Gramatté, Sophie-Carmen Profil Die Komponistin, Pianistin und Geigerin Sophie-Carmen Eckhardt-Gramatté fiel schon als Kind durch ihre musi- kalische Dreifachbegabung auf, die sie in Konzerten mit beiden Instrumenten und eigenen Kompositionen schon im Alter von elf Jahren unter Beweis stellte. Im Laufe ih- res Lebens konzentrierte sie sich immer mehr auf das Komponieren, die Auftritte als Instrumentalistin gingen zurück und beschränkten sich schließlich auf Aufführun- gen ihrer eigenen Werke. V. a. in Kanada, ihrem späte- ren Lebensmittelpunkt, erfuhr sie eine große Anerken- nung als Komponistin und Instrumentallehrerin und hin- terließ, anders als in Europa, deutliche Spuren im kultu- rellen Gedächtnis. Orte und Länder Geboren in Moskau verbrachte Sophie-Carmen Eckhardt- Gramatté die ersten Jahre ihrer Kindheit in England. Im Alter von fünf Jahren zog sie mit ihrer Mutter und einer Halbschwester nach Paris, wo sie später am Konservato- rium studierte. Ab 1914 lebte die kleine Familie in Berlin. Sophie-Carmen Eckhardt-Gramatté Mit ihrem ersten Ehemann Walter Gramatté lebte So- phie-Carmen Eckhardt-Gramatté v. a. dort, aber auch Sophie-Carmen Eckhardt-Gramatté zwei Jahre (1924–26) in Barcelona. Mit ihrem zweiten Geburtsname: Sophie-Carmen Fridman Ehemann Ferdinand Eckhardt lebte sie ab 1939 in Wien, Varianten: Sophie-Carmen Friedmann, Sophie-Carmen 1953 wanderte das Paar nach Winnipeg in Kanada aus. Fridman-Gramatté Biografie * 6. Januar 1899 in Moskau, Russland „The origins of Sophie-Carmen Eckhardt-Gramatté are † 2. Dezember 1974 in Stuttgart, Deutschland shrouded in legend“ („Die Herkunft Sophie-Carmen Eck- hardt-Gramattés liegt im Ungewissen.“) – so beginnt Fer- Komponistin, Pianistin, Geigerin, Klavier- und dinand Eckhardt die Biografie über seine Ehefrau in An- Violinlehrerin, Hochschuldozentin spielung auf die Unklarheiten, die in Bezug auf Geburts- jahr, -ort und Vater der Künstlerin bestehen (Eckhardt „Each plant needs personal care; some need tropical 1985, S. -
An Introductory Survey on the Development of Australian Art Song with a Catalog and Bibliography of Selected Works from the 19Th Through 21St Centuries
AN INTRODUCTORY SURVEY ON THE DEVELOPMENT OF AUSTRALIAN ART SONG WITH A CATALOG AND BIBLIOGRAPHY OF SELECTED WORKS FROM THE 19TH THROUGH 21ST CENTURIES BY JOHN C. HOWELL Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. __________________________________________ Mary Ann Hart, Research Director and Chairperson ________________________________________ Gary Arvin ________________________________________ Costanza Cuccaro ________________________________________ Brent Gault ii ACKNOWLEDGMENTS I am indebted to so many wonderful individuals for their encouragement and direction throughout the course of this project. The support and generosity I have received along the way is truly overwhelming. It is with my sincerest gratitude that I extend my thanks to my friends and colleagues in Australia and America. The Australian-American Fulbright Commission in Canberra, ACT, Australia, gave me the means for which I could undertake research, and my appreciation goes to the staff, specifically Lyndell Wilson, Program Manager 2005-2013, and Mark Darby, Executive Director 2000-2009. The staff at the Sydney Conservatorium, University of Sydney, welcomed me enthusiastically, and I am extremely grateful to Neil McEwan, Director of Choral Ensembles, and David Miller, Senior Lecturer and Chair of Piano Accompaniment Unit, for your selfless time, valuable insight, and encouragement. It was a privilege to make music together, and you showed me how to be a true Aussie. The staff at the Australian Music Centre, specifically Judith Foster and John Davis, graciously let me set up camp in their library, and I am extremely thankful for their kindness and assistance throughout the years. -
View David J. Elliott's Full CV
1 DAVID J. ELLIOTT Office Department of Music & Performing Arts Professions Steinhardt School of Education, Culture and Human Development New York University 35 West 4th Street New York, NY USA 10012 email: [email protected] Research Interests The Philosophy, Psychology, and Sociology of Music and Music Education; Community Music; Artistic Citizenship; Music Composition in Middle and Secondary Schools; Intercultural Music Education; Musical Emotions; Music Education Curriculum Education 1983 Doctor of Philosophy (Ph.D.) in Music Education Case Western Reserve University Advisors: Bennett Reimer and Peter Webster 1973 Bachelor of Education (B.Ed.) University of Toronto 1972 Master of Music (Mus.M.) in Music Education University of Toronto 1971 Bachelor of Music (Mus.B.) in Music Education University of Toronto Employment Summary: NYU 2002- Full Professor of Music & Music Education Department of Music & Performing Arts Professions New York University University of Toronto: Assistant Professor (1973) Associate Professor (1983) and Full Professor (1989) of Music and Music Education ________________________________________________________________________________ 2013- Distinguished Visiting Professor, Central Conservatory of Music, Beijing, PRC 2 2009-10 Visiting Professor, University of Guangzhou, PRC 2005-2008 Distinguished Visiting Professor, Puerto Rico Conservatory of Music 2002- Full Professor of Music & Music Education Department of Music & Performing Arts Professions New York University 1996-97 Visiting Professor of Music Irish -
The Australian Symphony of the 1950S: a Preliminary Survey
The Australian Symphony of the 1950s: A Preliminary survey Introduction The period of the 1950s was arguably Australia’s ‘Symphonic decade’. In 1951 alone, 36 Australian symphonies were entries in the Commonwealth Jubilee Symphony Competition. This music is largely unknown today. Except for six of the Alfred Hill symphonies, arguably the least representative of Australian composition during the 1950s and a short Sinfonietta- like piece by Peggy Glanville-Hicks, the Sinfonia da Pacifica, no Australian symphony of the period is in any current recording catalogue, or published in score. No major study or thesis to date has explored the Australian symphony output of the 1950s. Is the neglect of this large repertory justified? Writing in 1972, James Murdoch made the following assessment of some of the major Australian composers of the 1950s. Generally speaking, the works of the older composers have been underestimated. Hughes, Hanson, Le Gallienne and Sutherland, were composing works at least equal to those of the minor English composers who established sizeable reputations in their own country.i This positive evaluation highlights the present state of neglect towards Australian music of the period. Whereas recent recordings and scores of many second-ranking British and American composers from the period 1930-1960 exist, almost none of the larger works of Australians Robert Hughes, Raymond Hanson, Dorian Le Gallienne and their contemporaries are heard today. This essay has three aims: firstly, to show how extensive symphonic composition was in Australia during the 1950s, secondly to highlight the achievement of the main figures in this movement and thirdly, to advocate the restoration and revival of this repertory. -
INSIDE: * Changing Australia * Lousy Teachers...And All That * The
INSIDE: * Changing Australia * Lousy Teachers.....and All That * The Reader Writes * Trip to Lesotho Volume 7 Num ber 54 June 1970 THIS CHANGING AUSTRALIA The following excerpts are from an Occasional Address CONTENTS given at the April 2 Graduation Ceremony by Professor S. McCulloch, of the University of California. who has been visiting the Monash Department of History : This Changing Australia After being away from Australia for fifteer Lousy Teachers And All That 8 years, with the exception of a flying visit in 1964, I see enormous changes. In 1954-55, I SpE What the Reader is Writing 1 1 nine months in Sydney, and observed Australia gc ing economic and social momentum after adjustin~ A Trip to Lesotho 17 to the aftermath of World War II. In 1970, Ilm amazed at the progress that has been made. Dis Monash to Stage A.U.L.L.A. Congress 20 regarding the obvious changes, such as the new buildings, the swarming cars driven by a pe op l e w Radio Interview by New Zealand are obviously betting maniacs (I bet IIII just Broadcasting Corporation 22 miss him or her), and the enormously efficient air service, I would like to concentrate on fiVE Information, Please! 24 areas - immigration, industry, agriculture, edu cation, and the arts and culture generally. Obituary - Mr. N.J. Field 25 What has changed Australia the most to one Concert for Hall Appeal 26 who was born here, but been away for a very lon~ time, is the flood of immigrants who have reachE Lunch-Hour Concert Series 27 these shores since the war. -
March 24, 2011
Howe, Texas 75459 March 24, 2011 After two PC outs, Brad Zebedis sent a frozen rope down the left field line past a diving John Hinson to bring home Williams and give the Blue Hose a 1-0 lead the team would take into the second. A perfect first from lefthander Steven Richardson kept Clemson scoreless and PC struck again in the second. One out down, Nate Horton singled on a full count to bring up PC Baseball Tops Tyler Hill (Goose Creek, S.C.), who followed suit with a single of his own. Kyle Galloway replaced Hill as a pinch-runner and he No. 16 Clemson in Thriller, 4-3 would be put to work, as John Wagner dug out a two-strike single HHS Howe Grad Steven Richardson pitches win to bring home Horton and extend the Blue Hose lead to 2-0. GREENVILLE, S.C. – The Presbyterian College Blue Hose Despite Andrew Williams reaching first on a fielding error, PC baseball team rallied after surrendering a two-run lead against the could not convert with the bases loaded and ended the inning with No. 16 Clemson Tigers on Wednesday night, scoring a go-ahead the 2-0 advantage. run in the eighth inning to hand the Tigers a loss at Fluor Field, 4- 3. The Clemson offense emerged in the second to cut into the Blue Hose lead. Richie Shaffer led off with a single and reached third The team’s seventh straight win improves PC’s record to 11-6 on a John Hinson double immediately after. -
Concertos Ddd Concertos for Piano & Strings for Piano & Strings GORDON JACOB Piano Concerto No
SOMMCD 254 CONCERTOS DDD CONCERTOS for Piano & Strings for Piano & Strings GORDON JACOB Piano Concerto No. 1 (premiere recording) MALCOLM WILLIAMSON Piano Concerto No. 2 DOREEN CARWITHEN Piano Concerto GORDON JACOB Mark Bebbington piano (premiere recording) Innovation Chamber Ensemble (players from the CBSO) Richard Jenkinson conductor DOREEN CARWITHEN Gordon Jacob: Piano Concerto No. 1 (17:08) Doreen Carwithen: Piano Concerto (33:28) MALCOLM WILLIAMSON 1 I. Allegro assai 4:26 7 I. Allegro assai 12:43 2 II. Adagio 5:29 8 II. Lento 10:08 3 III. Allegro risoluto 7:12 9 III. Moderato e deciso ma con moto 10:36 Malcolm Williamson: Piano Concerto No. 2 (16:26) Mark Bebbington Total Duration: 67:20 4 I. Allegro con brio 4:31 piano 5 II. Andante lento 7:35 6 III. Allegro con spirito 4:19 Innovation Chamber Ensemble Recording Producer: Siva Oke Recording Engineer: Paul Arden-Taylor (players from the CBSO) Recording location: CBSO Centre, Birmingham, 2-3 June 2014 Front Cover: Mark Bebbington. Photo © Rama Knight Richard Jenkinson Design and Layout: Andrew Giles conductor © & 2014 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND Made in the EU of attractive and technically accomplished music but also as an expert on Concertos for Piano and Strings orchestration. Composers as diverse as Vaughan Williams and Noël Coward by entrusted him with arrangements of their music, and his rousing version of the national anthem was one of the musical highlights of the 1953 coronation. Gordon Jacob . Malcolm Williamson . Doreen Carwithen Jacob’s Concerto No. 1 for piano and string orchestra, which is here receiving its first commercial recording, was written in 1927 and premièred by its dedicatee, GORDON JACOB (1895-1984) fellow composer Arthur Benjamin, with the Queen’s Hall Orchestra under Concerto No. -
Wednesday, April 6, 2016 at 7:30 in the Evening Dwan Light Sanctuary
You are invited to a unique event...unique in both location and presentation...a Light Spectrum Concert. We hope this will be the first in a new series. Wednesday, April 6, 2016 at 7:30 in the evening Dwan Light Sanctuary, Montezuma, NM United World College--USA campus Ticket price $20.00 Artistic director Ronald Maltais will be presenting his composition, Star Axis Preludes, for the first time. Other internationally known musicians will perform in this very special and exclusive venue. Read brief biographies of Jack Glatzer, Trey Keepin, and Ronald Maltais below. Please reserve your seats at your earliest possible convenience. Click here to go directly to the Las Vegas Arts Council website, where you can pay using Paypal, a credit card, or electronic transfer from your bank. If you prefer, you can mail a check to the Las Vegas Arts Council at PO Box 2603, Las Vegas, NM 87701, or you can call the Arts Council at 505-425-1085 and we will take your information over the phone. If we miss you, please leave a message, and we will return your call as soon as possible. Continued Payment will reserve your seat, but remember, there are only 70 seats available. We will reserve them for you on a first-paid, first-served basis. We look forward to sharing an extraordinary and memorable evening with you. Our best and warmest regards, Ronald Maltais and the Las Vegas Arts Council Jack Glatzer, master violinist, originally from Dallas, Texas, began the study of violin at age five and at thirteen gave his debut recital.