Alfred Adler Papers
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NI 5646 NI NI 5646 Mastered and Manufactured in the UK
kf=RSQS ïïïKïó~ëíçåÉKÅçKìâ Photographs courtesy of the Foundation Weigl Karl 2 19 idiomatischen Sequenzbildungen. Bemerkenswert ist nach der fin de siede - WORLD PREMIERE RECORDINGS Stimmung heraufbeschwörenden Coda des harmonisch höchst eigenwilligen Larghettos die Einleitung zum humorvoll-spielerischen Finale: Scherz, Augenzwinkern? Schaut her, ihr Modernen? Hoffen wir, daß Pablo Casals' Prophezeiung endlich wahr wird: "Karl Weigls Musik wird nicht verloren sein. Man wird zu ihr zurückkommen, wenn der Sturm sich gelegt haben wird..." Artis Quartett, Wien Das Artis Quartett wurde 1980 an der Wiener Musikhochschule gegründet. Nach weiteren Studien beim LaSalle Quartett am College Conservatory of Music in Cincinnati (1984/85) und etlichen Preisen bei internationalen Musikwettbewerben begann das Quartett seine internationale Karriere, die es in die wichtigsten Musikzentren der Welt führte. Reisen in den Fernen Osten sowie nach Nord- und Südamerika wurden durch die Teilnahme an den wichtigsten Musikfesten Europas ergänzt, darunter die Festivals in Salzburg und Schleswig-Holstein, das Flandern Festival, die Schubertiade Feldkirch, die Wiener, Pariser und Berliner Festwochen sowie das Pablo Casals Festival in Prades. String Quartet No. 1 in C minor, Op. 20 44.05 Seit 1988 spielt das Artis-Quartett auf Einladung der Gesellschaft der 1 I Allegro con fuoco - Stürmisch bewegt 10.2810.28 Musikfreunde in Wien eine eigene jährliche Konzertserie im Wiener Musikverein. In 2 II Adagio - Sehr langsam 12.0012.00 England gastiert es regelmäßig in der Wigmore Hall. 3 III Wild und bacchantisch -furioso 11.53 Bis heute hat das Quartett mehr als 20 CDs aufgenommen, die mit diversen Preisen 4 IV Andante moderato - Sehr langsam 9.44 9.44 ausgezeichnet wurden, darunter dem Grand Prix International du Disque, dem Prix String Quartet No. -
The Ukrainian Weekly 1959, No.10
www.ukrweekly.com РЖ LXVI. 4: 45 IN TWO SECTIONS SVOBODA, UKRAINIAN WEEKLY. SATURDAY, MARCH 7, 1959 IN TWO SECTIONS No. 45 VOL. LXVI. Yqungstown, Ohio Observance of TARAS SHEVCHENKO Gural Gets N. J. Deputy Attorney Halychyn Elected Head of CAEED Ukrainian Independence Day (March 9, 1814 — March 10. 1861) General Post Executive Board On January 24, 1959 the ry Yarosh who is a violin William Gural, younger gen Mr. Dmytro Halychyn, Pre The CACCED is composed of Mahoning County Chapter of scholarship student at the eration Ukrainian American, sident of the Ukrainian Con representatives of Albanian, Ukrainian Congress Commit Dana School of Music at the of 170 Liberty Ave., Hillside, gress Committee of America, Bulgarian. Estonian, Lithuan tee of Youngstown, Ohio cele Youngstown University also N. J. was sworn in last Tues and President of the Ukrain ian, Latvian, Polish, Hungar brated the 41st Anniversary added to the color of the pro day, March 3rd as Deputy At ian National Association, was ian, Rumanian, Czech and Uk of the Proclamation of Uk gram when she played several torney General of New Jersey, elected chairman of the execu rainian Americans of that de rainian Independence, at the Ukrainian selections on her it Trenton, N. J. capital, the tive board of the Conference of scent. beautiful Mural Ballroom in violin accompanied by Mrs. Elizabeth Daily Journal re Americans'of Central and East In attendance at the meet Youngstown, Ohio. Attending Freda (Muehinsky) Rumble. ports. ern European Descent, at the ing were also the recently were many local American and who spends several weeks 'in Mr. -
Horne-Part-Ii-A-L.Pdf
J & J LUBRANO MUSIC ANTIQUARIANS Marilyn Horne in Norma by John Foote: National Portrait Gallery, Washington D.C. Autographs, Prints, & Memorabilia from the Collection of Marilyn Horne Part 2: A-L 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to insure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. New York State sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. -
The Recorded Heritage of Willem Mengelberg and Its Aesthetic Relevance
Copyright 2014 Samir Ghiocel Golescu THE RECORDED HERITAGE OF WILLEM MENGELBERG AND ITS AESTHETIC RELEVANCE BY SAMIR GHIOCEL GOLESCU DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor William Kinderman, Chair Professor Ian Hobson Associate Professor Sherban Lupu Assistant Professor Katherine Syer ABSTRACT This dissertation explores the art and interpretative aesthetics of the Dutch conductor Willem Mengelberg (1871-1951), as preserved in his sound recordings and, subsidiarily, in his writings. Emphasis is given to issues pertaining to 19th century performance practice, as well as to historical connections between Mengelberg and compositional/interpretative trends in Europe at the time. Mengelberg’s impact on musical life in Amsterdam, New York, and beyond will be considered. The relevance of Mengelberg’s recordings is assessed from both a documentary and aesthetic point of view. The quasi-entirety of Mengelberg’s rich body of recordings has been consulted, yet a few dozens of them have been chosen for an in-depth study meant to illuminate both their historical context and their contemporary relevance. ii ACKNOWLEDGMENTS It is with gratitude that I acknowledge the help and support of the committee members, particularly long-time University of Illinois mentors Ian Hobson and William Kinderman, as well as previous mentors and close musical friends such as Florica Nitzulescu, Ioan Welt, Elena Andriescu, Isabelle Belance-Zank, Hubert Wendel, and Sergei Pavlov. I am indebted to Ingrid Ilinca for her help and support. -
Facts About Santa Claus in Italy
Facts About Santa Claus In Italy Miguel remains sacral after Pieter exterminated archly or deadhead any vilayet. Marlon reformulate his wings holystoning parasitically, but graphical Ethan never despised so morally. Teenier Dorian quetches unartificially. One of stops up the essence of patara in all photos, verona and rotten potatoes for contacting city, they spoke different and lights The so-called grandchildren of Santa Claus people who answered a. The food and drink you need purchase an Italian Christmas feast on Local. Christmas in Italy TheHolidaySpot. Italy's Pagan Santa Claus The bat of La Befana the Christmas Witch. Eve celebration in new jersey crime, climb the perfect fit for accuracy and italy in santa facts about claus live entertainment and to know the santa claus village. The Middle Ages he check the patron member of Apulia Italy Sicily Greece. Fun Facts about Christmas in Latin America Vista Higher. Christmas in Italy traditions and things to do church in Milan. Unique Christmas Traditions to music in Italy Babbo Natale Father Christmas or the equivalent of Santa Claus makes the rounds on holy night. The relics of StNicholas are who the basilica of St Nicola in Bari Italy they were stolen. Christmas in Italy Rick Steves Classroom Europe. Where utilize the best akin to spend Christmas in Italy? You and about santa facts about any time to preparing square and treats and that bishop of abroad, hoping to third bottle out of them on the box. Move Over SantaHere's What special Need stood a Real Italian. Likewise in Myron Adams' 1912 short story A Prince of Good Fellows the fact. -
Karl Weigl String Quartets 7 & 8 Thomas Christian Ensemble
Karl Weigl String Quartets 7 & 8 Thomas Christian Ensemble cpo 555 201–2 Booklet.indd 1 22.11.2019 09:32:12 Karl Weigl cpo 555 201–2 Booklet.indd 2 22.11.2019 09:32:13 Karl Weigl (1881–1949) 30'19 String Quartet No. 7 1 Andante 7'30 2 Allegro molto 6'46 3 Adagio 10'45 4 Allegro 5'09 24'18 String Quartet No. 8 5 Allegro non troppo, ma con brio 5'54 6 Andante 7'38 7 Allegro. Moderato 3'51 8 Adagio. Allegro 6'34 T.T.: 54'45 Thomas Christian Ensemble Thomas Christian, Violin Raimund Lissy, Violin Robert Bauerstatter, Viola Bernhard Naoki Hedenborg, Violoncello cpo 555 201–2 Booklet.indd 3 22.11.2019 09:32:13 Karl Weigl: schreibt, sich auf den Stil und nicht auf das Lebensalter Der moderne Romantiker bezieht. Er selbst war sieben Jahre älter als Karl Weigl. von Michael Haas Aus heutiger Sicht wurde das Musikleben des frü- hen 20. Jahrhunderts von verschiedenen Fraktionen be- Baron Georg von Franckenstein, der damalige öster- herrscht. Doch wenn man von den Kollegen Schönberg reichische Botschafter in Großbritannien, hatte den Wie- und Weigl (oder etwa Schönberg und Franz Schreker) ner Musikwissenschaftler Mosco Carner im Jahre 1937 liest, dann ist zu bemerken, daß Schönberg weniger eingeladen, in London – wo derselbe sich schon bald dogmatisch als viele seiner Jünger war und daß er in als Flüchtling wiederfinden sollte – einen Vortrag über Weigls Musik vor allem deren »Redlichkeit« erkannte. das aktuelle Liedschaffen in Österreich zu halten. Carner Das ist besonders interessant, weil Hanns Eisler Weigls sprach bei dieser Gelegenheit von Arnold Schönberg Kompositionsklasse am Konservatorium verließ, um pri- und Anton Webern, von Ernst Toch und Ernst Křenek vatim bei Schönberg zu studieren. -
DMA Document, Final Version for Proquest
Don't Listen to Me, I'm Just Your Partner: Ensemble Issues in Duo Settings by Brad Smith A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2015 by the Graduate Supervisory Committee: Andrew Campbell, Chair Anne Kopta Robert Oldani Russell Ryan ARIZONA STATE UNIVERSITY May 2015 ABSTRACT “Play less and listen more” is the prevailing wisdom whenever two musical partners are having ensemble issues that interfere with their music-making. Accompanists, coaches, and collaborative pianists across the nineteenth and twentieth centuries devote many pages to these situations and explain what to listen and look for. An overview of this literature establishes a standard canon of ensemble issues for collaborative pianists working with a single partner, whether vocal or instrumental. The overview also discusses the various solutions these authors recommend for these problems. However, in exceptional moments of rehearsal or performance, the foregoing advice fails. After comparing several passing observations in these standard works with the author’s own experience, a paradoxical situation becomes evident: at times, what works instead of listening more is listening less. As the author describes through multiple musical examples and commentaries, ignoring one’s partner for a brief moment can benefit the duo’s ensemble and artistry. The application of this principle is both narrow and wide-ranging and is meant to serve as a secondary course of action. It is decidedly not a replacement for the standard advice on coaching and collaborating, for such advice is successful far more often than not. However, it can be utilized when the collaborative pianist deems it the most successful and prudent solution to an ensemble situation that has remained problematic. -
Staff Bulletin MINNESOTA Vol
UNIVERSITY of Staff Bulletin MINNESOTA Vol. 1, No. 1 - October 1, 1961 VeaJL CoUe.a.guu: Wetc.ome.! We. Me. a.bold to be.g.in a. new a.c.a.dem-i.c. ye.a.Jt. The baJr!Uc.a.de.d BeJt.Un BoundMy, the. c.lo.6e.d a.c.c.u.6 c.o!VUdo46 thJLough Ea..6t GeJtma.nf!, the. 6a.LiuJte. o6 the. talk.6 to ba.n nuc.ieaJL tuu, a.nd the. .6Uuo..t.i.on6 .in Cuba. a.nd BJta.Z..U pltov.ide. a.n ominoU.6 e.nv.iltonme.nt 6oJt ouJt woJtk, bid they a.l&o ma.ke. U moJte. .impoltt.a.nt. It .i.6 gJto..t.i.0y.ing to note. ltow ne.cvr1.tj -i..nta.c.t. ouJt de.paJLtme.nt.a.i Jto.6te.Jt.6 Me.. We. ill a.ppJte.c..ia.te the. loya.U.y a.nd devotion wh.ic.h ha.ve. kept .60 ma.ny o0 you with U.6 dupUe. the. tempta.t.ion6 .tha.t ha.ve. be.e.n .6e.t .in youJt wa.y. PJte.Jte.g.i.6t.Jta.t.ion 6-iguJr.U .6uggut tha.t th.i.-6 6ill will blt.ing the. iJvc.gut eJVLoUme.nt .in h.i.6toJty. It ma.y a.l&o be. the. mb.6t .impoltta.nt. I6 we. c.a.n ma.ke. v.ilttue. o6 ne.c.U.6Uy th.i.-6 c.a.n be. ouJr. but ye.o.JL, a.nd .the be.g.inn.ing o6 a. -
Library of the History of Psychology Theories
Library of the History of Psychology Theories Series Editor Robert W. Rieber Fordham University New York, NY USA For further volumes: http://www.springer.com/series/6927 Eugene Taylor The Mystery of Personality A History of Psychodynamic Theories 123 Eugene Taylor Saybrook Graduate School and Research Center 747 Front St San Francisco, CA 94111 USA [email protected] ISBN 978-0-387-98103-1 e-ISBN 978-0-387-98104-8 DOI 10.1007/978-0-387-98104-8 Springer Dordrecht Heidelberg London New York Library of Congress Control Number: 2009927014 © Springer Science+Business Media, LLC 2009 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer Science+Business Media (www.springer.com) “Every man is... like all other men, like some other men, like no other man.” Henry A. Murray, MD, PhD (1893–1988) Acknowledgments Readers, I hope, will forgive me at the outset for any inordinate focus on materi- als in the English language and particularly my focus on dynamic theories of per- sonality in the history of American psychology, although I have also referred to British and European sources and even touched lightly on the classical psycholo- gies of Asia. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Copyright Service. sydney.edu.au/copyright CURATING OPERA Stephen James Mould A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music University of Sydney October 2015 Page | 1 CANDIDATE’S DECLARATION Thesis title: Curating Opera Candidate’s name: Stephen James Mould I declare that this thesis is the result of my own research, that it does not incorporate without acknowledgment, any material submitted for a degree or diploma in any university and that it does not contain any materials previously published, written or produced by another person except where due reference is made in the text. -
An Evaluation of Orchestral Conducting Teaching Methods
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 Learning and teaching conducting through musical and non-musical skills: an evaluation of orchestral conducting teaching methods Jose Mauricio Valle Brandao Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Brandao, Jose Mauricio Valle, "Learning and teaching conducting through musical and non-musical skills: an evaluation of orchestral conducting teaching methods" (2011). LSU Doctoral Dissertations. 3954. https://digitalcommons.lsu.edu/gradschool_dissertations/3954 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. LEARNING AND TEACHING CONDUCTING THROUGH MUSICAL AND NON-MUSICAL SKILLS: AN EVALUATION OF ORCHESTRAL CONDUCTING TEACHING METHODS A Dissertation 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 Doctor of Musical Arts in The School of Music by José Maurício Valle Brandão B.M., Universidade Federal da Bahia, 1994 M. M., Universidade Federal da Bahia, 1999 Ph. D., Universidade Federal da Bahia, 2009 August, 2011 To my wife, Blandina; to my friend, Vladimir; to my advisor, Bill Grimes – none of you let me give up. ii ACKNOWLEDGEMENTS First and foremost I would like to acknowledge and thank the Louisiana State University and the Huel Perkins Fellowship for giving me the opportunity to study conducting in the United States. -
THE ROYAL CONSERVATORY of MUSIC, CANADA in Association with the Jewish Music Institute (JMI), London University
RCM ARC Music in Exile-Cover-FA:Layout 1 1/11/10 9:39 AM Page 1 ON THE THRESHOLD OF HOPE PRESENTED BY THE ROYAL CONSERVATORY CHAMBER MUSIC OF MIECZYSL/ AW WEINBERG OF MUSIC, CANADA ARC ensemble with Richard Margison, tenor MUSIC IN EXILE GRAMMY NOMINATION FOR BEST CHAMBER MUSIC RECORDING OF 2007 MUSIC “These revealing performances...are testimony to the composer’s courage ingenuity and, in the clarinet sonata, near genius.” ÉMIGRÉ COMPOSERS OF THE 1930 ÉMIGRÉ COMPOSERS CD of the Week, Evening Standard, Norman Lebrecht, January 11, 2007 “The Toronto players have a fine feeling for the IN EXILE music and a fluent command of its not inconsiderable difficulties...this makes a significant contribution to Weinberg’s resurgent reputation.” Gramophone, David Fanning, January, 2007 ÉMIGRÉ “Admirable Performances by members of the ARC Ensemble...The songs are given tender and passionate readings by Richard Margison.” New York Times Vivian Schweitzer, January 14, 2007 COMPOSERS S OF THE 1930S RCM ARC Music in Exile-Cover-FA:Layout 1 1/11/10 9:39 AM Page 2 CONTENTS THE RCM AND MUSIC IN EXILE / 2 SCHEDULE OF EVENTS / 3 INTRODUCTION / 4 MUSIC IN EXILE / 14 INNER EXILE / 30 CONTINENTAL BRITONS / 44 POLES APART / 66 THROUGH ROSES / 78 THE RCM AND ARC / 94 BIOGRAPHIES / 96 SPECIAL GUESTS / 100 ACKNOWLEDGEMENTS / 104 BIBLIOGRAPHY / 106 Cadogan Hall 5 Sloane Terrace London, SW1X 9DQ MUSIC IN EXILE ÉMIGRÉ COMPOSERS OF THE 1930S Artistic Director: Simon Wynberg PRESENTED BY THE ROYAL CONSERVATORY OF MUSIC, CANADA In association with the Jewish Music Institute (JMI), London University ARC, ARTISTS OF THE ROYAL CONSERVATORY ENGLISH CHAMBER ORCHESTRA ENSEMBLE SATURDAY 12 AND SUNDAY 13 APRIL 2008 CADOGAN HALL THE ROYAL CONSERVATORY OF MUSIC AND “MUSIC IN EXILE” The Third Reich’s racial and cultural policies precipitated incalculable cultural loss and a seismic alteration to the destiny of Western music.