DOCSLIB.ORG

Running Head: PARADIGMS, PERSPECTIVES and PARTICIPATION

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Running Head: PARADIGMS, PERSPECTIVES and PARTICIPATION Running head: PARADIGMS, PERSPECTIVES AND PARTICIPATION Paradigms, Perspectives and Participation: Reconceptualising Amateur Orchestras as Unique Socio-Musical Communities of Practice A thesis submitted for the degree of Doctor of Philosophy by James Donald Arrowsmith College of Business, Arts and Social Sciences Brunel University June 2016 PARADIGMS, PERSPECTIVES AND PARTICIPATION Dedication To my wife, Katharine Schell Arrowsmith; your love, patience and support have been endless throughout this process, and I am forever grateful. To my children, Elizabeth London Arrowsmith and Douglas Walter Arrowsmith; you have both been so wonderful while daddy has been busy. I hope that, one day, you all have the opportunity to share your music with the world. ii PARADIGMS, PERSPECTIVES AND PARTICIPATION Acknowledgements I would like to acknowledge the many people whose support and contributions helped to make this thesis possible: My parents, who have encouraged and supported me throughout my career; My long-suffering reader, Gillian, who has been diligent and patient, and whose help and advice were invaluable in the completion of this work; My thesis supervisor, Prof. Peter Wiegold, who has inspired me to explore new pathways and to embrace new concepts in my musicianship. Thank you for your guidance and for giving me the opportunity to pursue this project; Dr. Tom Ryan for his invaluable assistance in editing this document; Finally, my sincere thanks to the many musicians, conductors, administrators, committee members, and audience members who participated in this research. I am grateful for the opportunity to have seen their hard work and dedication first hand, and to have shared in their music-making. iii PARADIGMS, PERSPECTIVES AND PARTICIPATION Abstract Using Ezra Schabas’ (1966) report on Ontario community orchestras as a catalyst for inquiry, this dissertation examines the nature of amateur orchestras, arguing that they may be reconceptualised as unique, socio-musical communities of practice through an exploration of several factors which influence their health and sustainability. These include: aspects of amateur musical engagement; the relationship between amateur musicians and the various professional actors found in the amateur context; the importance of ensemble-based music education as a crucible for the development of individual artistry, life-long musical learning, and a socio-musical skill set which will encourage and enhance future orchestral participation; the adoption of new, creative and collaborative practices as pathways to improved socio-musical awareness and artistic freedom; and an approach to public engagement which celebrates diversity, embraces cultural democracy, and fosters community cohesion among players and the public. These concepts are explored against the backdrop of two contrasting paradigms of practice: the traditional symphony orchestra and Community Music. This comparison suggests a new paradigm for amateur orchestras, embodying the characteristics of amateurism, socio-musical cohesion, and community engagement, which can properly be described as “community orchestras.” Key words: amateur, community, community of practice, Community Music, engagement, orchestra iv PARADIGMS, PERSPECTIVES AND PARTICIPATION Table of Contents Abstract .............................................................................................................................................. iv INTRODUCTION .................................................................................................................................. 1 The Schabas Report ....................................................................................................................... 1 Growing Up in the Sudbury Symphony Orchestra .................................................................. 2 Schabas and the Sudbury Symphony Orchestra ..................................................................... 3 Community Music ................................................................................................................... 4 Catalysts for Research ............................................................................................................. 5 The Research Questions .......................................................................................................... 6 Chapter Overview Over-view ....................................................................................................... 8 Summary ....................................................................................................................................... 11 Notes ............................................................................................................................................ 12 CHAPTER ONE: POSITIONING THE RESEARCH, LITERATURE REVIEW AND RESEARCH RATIONALE ... 15 The Nature of Amateur Orchestras ............................................................................................... 16 Concepts of Amateurism and Professional Identity ................................................................ 18 Amateur Professional Identity: Serious Leisure ....................................................................... 20 Community Music.......................................................................................................................... 21 Community Music Concepts and Practices: Music Education ................................................. 22 Community Music Concepts and Practices: Social Justice ....................................................... 23 Community Music Concepts and Practices: Musicking ........................................................... 23 Community Music Concepts and Practices: Lifelong Learning ................................................ 23 Music Education ............................................................................................................................ 24 Approaches to Music Education: Ensemble Learning .............................................................. 25 Innovative Practice ........................................................................................................................ 26 El Sistema ...................................................................................................................................... 26 v PARADIGMS, PERSPECTIVES AND PARTICIPATION Community Engagement ............................................................................................................... 27 Community Engagement: Cultural Democracy ........................................................................ 27 Community Engagement: Authentic Participation .................................................................. 28 Community Engagement: Social Capital and Cohesive Community ........................................ 29 Communities of Practice ............................................................................................................... 30 Summary........................................................................................................................................ 30 Notes ............................................................................................................................................. 31 CHAPTER TWO: METHODOLOGY ....................................................................................................... 34 Research Approaches .................................................................................................................... 34 Qualitative Research into Amateur Orchestras ........................................................................ 34 Conducting the Research: Questionnaires ............................................................................... 35 Conducting the Research: Interviews ....................................................................................... 36 Conducting the Research: Participant Observation .................................................................. 37 Conducting the Research: Case Studies .................................................................................... 40 Conducting the Research: Grounded Theory ........................................................................... 41 Conducting the Research: Grounded Theory and Community Music ...................................... 42 Summary........................................................................................................................................ 42 Notes ............................................................................................................................................. 44 CHAPTER THREE: THEMES AND FRAMEWORKS ................................................................................ 45 Presenting the Research: Identifying Themes, Displaying Data ................................................... 45 Contrasting Paradigms: Traditional Orchestras and Community Music ....................................... 46 Traditional Orchestral Paradigms: Selectivity, Hierarchy and the Cannon .............................. 47 Community Music Paradigm: Hospitality, Creativity and Cultural Democracy ....................... 49 Contrasting Paradigms in the Research ................................................................................... 51 Summary........................................................................................................................................ 52 vi
Load more

Recommended publications
  • Theodore Thomas Collection: Finding
    University of Toronto Music Library Thedore Thomas collection CA OTUFM 09 © University of Toronto Music Library 2020 Contents Theodore Thomas ............................................................................................................................................ 3 Ezra Schabas ....................................................................................................................................................... 3 Theodore Thomas collection ....................................................................................................................... 3 Series A: Chronological research files ............................................................................................. 4 Series B: Research files by topic or library ..................................................................................... 5 Series C: Correspondence regarding participation and promotion of biography ........ 6 Series D: Microfilms ................................................................................................................................ 8 Theodore Thomas collection University of Toronto Music Library CA OTUFM 09 Theodore Thomas 1935-1905 Thomas, Theodore (1835-1905), formed his own orchestra in 1862 and gave concerts in many American cities, always including some unfamiliar work. He conducted the New York Philharmonic 1877–1891, and was the first conductor of the Chicago Symphony 1891–1905. Ezra Schabas 1900-1971 Prof. Ezra Schabas was born in New York and received his Diploma in Clarinet
    [Show full text]
  • 14Th Annual Report the Canada Council 1970-1971
    1 14th Annual Report The Canada Council 1970-1971 Honourable Gérard Pelletier Secretary of State of Canada Ottawa, Canada Sir, I have the honour to transmit herewith the Annual Report of the Canada Council, for submission to Parliament, as required by section 23 of the Canada Council Act (5-6 Elizabeth Ii, 1957, Chap. 3) for the fiscal year ending March 31, 1971. I am, Sir, Yours very truly, John G. Prentice, Chairman. June 341971 3 Contents The Arts The Humanities and Social Sciences Other Programs 10 Introduction 50 Levels of Subsidy, 1966-67 to 1970-71 90 Prizes and Special Awards 12 Levels of Subsidy, 1966-67 to 1970-71 51 Research Training 91 Cultural Exchanges Doctoral Fe//owships; distribution of 14 Music and Opera Doctoral Fellowships by discipline. 96 Canadian Commission for Unesco 21 Theatre 54 Research Work 100 Stanley House Leave Fellowships; distribution of Leave 27 Dance Fellowships by discipline; Research Finances Grants; distribution of Research Grants 102 Introduction 30 Visual Arts, Film and Photography by disciph’ne; list of Leave Fellowships, Killam Awards and large Research 105 Financial Statement 39 Writing Grants. Appendix 1 48 Other Grants 78 Research Communication 119 List of Doctoral Fellowships List of grants for publication, confer- ences, and travel to international Appendix 2 meetings. 125 List of Research Grants of less than $5,000 86 Special Grants Support of Learned Societies; Appendix 3 Other Assistance. 135 List of Securities March 31. 1971 Members John G. Prentice (Chairman) Brian Flemming Guy Rocher (Vice-Chairman) John M. Godfrey Ronald Baker Elizabeth A. Lane Jean-Charles Bonenfant Léon Lortie Alex Colville Byron March J.
    [Show full text]
  • Conservatory of Music Piano Examinations, 1887-2015: Their Impact and Influence
    A HISTORY OF THE ROYAL (TORONTO) CONSERVATORY OF MUSIC PIANO EXAMINATIONS, 1887-2015: THEIR IMPACT AND INFLUENCE TATIANA VOITOVITCH-CAMILLERI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO November 2019 © Tatiana Voitovitch-Camilleri, 2019 ii ABSTRACT Since its inception in 1887, the Royal Conservatory of Music has maintained its position as one of the largest and oldest community-based music schools and education centres in North America, with an integrated examination body and a comprehensive graded curriculum, influencing and shaping the Canadian musical landscape. For the past 130 years, the Conservatory has presented a wide-ranging art music repertoire for studying piano and offered a comprehensive system for assessing students’ progress through its Examinations, recently retitled as The Certificate Program. The Conservatory’s internal examinations began in 1887, with the external examinations following in 1898. The latter preserved the format of the former and expanded through increasing the number of the examination centres across Canada for both financial and educational reasons. Despite varying opinions of professionals and amateurs on the efficacy and value of the piano examinations in particular from the beginning, this dissertation, using historical sources and interviews, argues that over the years the structure and content of the piano examinations, while innately conservative on the whole, have kept up with a changing demographic of students across the country, and either countered or taken on the many criticisms that surrounded them over the years despite geographical and financial challenges, and indeed competition from other institutions.
    [Show full text]
  • Ezra Schabas Fonds
    University of Toronto Archives and Record Management Services Finding Aid – Ezra Schabas fonds Contains the following accessions: • B1996-0013 • B2008-0031 To navigate to a particular accession, use the bookmarks in the PDF file Ezra Schabas Personal Records B1996-0013 Records [textual; graphic; sound and moving images] 1958-1993. 12.20 metres Access: Open; selected records in Series 4, Subseries 5 are restricted. BIOGRAPHICAL NOTE Prof. Ezra Schabas was born in New York and received his Diploma in Clarinet (1943) and Bachelor of Science (1948) from the Juillard School. In 1949, he received his Master of Arts from Columbia University. He also studied at the Conservatoire de Nancy, and the Fontainebleau School for the Arts in France between 1945 and 1950. After several appointments at American universities (1948-1952), he joined the staff of the Royal Conservatory of Music as Director of Concerts and Publicity where he arranged concerts for leading young artists across Canada. During the 1950s he was active as a clarinetist and conductor and managed music at the Stratford Festival (1958 and 1961). In 1960 he joined the staff of the Faculty of Music as Special Lecturer, becoming Associate Professor in 1961 and Professor in 1968. From 1978 to 1983, he was Principal of the Royal Conservatory of Music. Prof. Schabas retired as Professor Emeritus in 1985. Scope and Content The accession documents Prof. Schabas' forty year career as teacher, administrator, and consultant with the Royal Conservatory of Music and the Faculty of Music at the University of Toronto, and his numerous external activities as consultant, juror, examiner, and as member in various professional and government organizations devoted to the promotion of the education and professional development of musicians in Canada and abroad.
    [Show full text]
  • Government Issue What Will Prime Minister Stephen Harper’S Arts and Culture Legacy Be?
    EQUITY QUARTERLY FALL 2009 TIME FOR A CULTURAL POLICY REVIEW ADRIENNE CLARKSON ON THE ARTS EQ CAN A UNION CHANGE A COUNTRY? The Government Issue What will Prime Minister Stephen Harper’s arts and culture legacy be? 1932 – Prime Minister R.B. Bennett initiates the creation of the CBC 1951 – Louis St. Laurent asks Vincent Massey to chair the Royal Commission on culture, which recommends the creation of the Canada Council for the Arts, established in 1957 1983 – The Federal Cultural Policy Review Committee, appointed by the Trudeau government, issues the Applebaum-Hébert Report on cultural policy 2000 – The government of Jean Chrétien creates the Tomorrow Starts Today arts funding initiative 2008 – Harper government cuts the Trade Routes and PromArt touring programs President’s message After writing the end-of-term summary for the last EQ, and then the full online report, I’m not certain what I have left to say. People who know me well will want to mark this occasion down in their diary or note it in their blog. Perhaps some kind of celebration is in order.... We are fast approaching the end of the Council term, and by the time you read this we will be in the middle of elections for the next. It has been an honour serving both Council and the membership as President for the past three years. It was a lot of work, but enormously fulfilling. That said, I need to remind everyone that the President is not at the top of the governance structure; that position belongs to Council itself.
    [Show full text]
  • Downloads/Newsletters/July August 2004.Pdf#Search= 'William%20Gasbarro%20Clarinet (Accessed February 25, 2011)
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Biographical Dictionary of Twentieth- Century American Clarinetists Tracey Lynn Paddock Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A BIOGRAPHICAL DICTIONARY OF TWENTIETH-CENTURY AMERICAN CLARINETISTS By TRACEY LYNN PADDOCK A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2011 The members of the committee approve the Treatise of Tracey L. Paddock defended on March 28, 2011. _________________________________ Frank Kowalsky Professor Directing Treatise _________________________________ Richard Clary University Representative _________________________________ Deborah Bish Committee Member _________________________________ Jeff Keesecker Committee Member The Graduate School has verified and approved the above-named committee members. ii To my husband Grant, who has stood by my side in the face of this and many other challenges, and to my parents, teachers, and friends, who have supported me generously and tirelessly. iii ACKNOWLEDGEMENTS I would like to acknowledge all of the teachers and mentors who have helped me on my musical, educational, and life path. To James Campbell, thank you for providing me with a strong musical foundation, and musical and philosophical inspiration which will last a lifetime, and which I try to pass on to my own students. To former committee member Eric Ohlsson, thank you for setting the comprehensive exam question that led me to this treatise. To former committee member John Deal, thank you for urging me to make the treatise “comprehensive.” To Howard Klug, thank you for your invaluable guidance at the onset of this journey.
    [Show full text]
  • Schabas, Ezra
    There’s Music in These Walls: A History of the Royal Conservatory of Music. By Ezra Schabas. Toronto: The Dundurn Group, 2005. ISBN 1-55002-540-6. 288 pp., ill. $50.00 (hardcover) any Canadians, this reviewer A continuing theme of the book is included, know the Royal the turbulent relationship between the M Conservatory of Music as an RCM and the University of Toronto. invisible force behind years of childhood The Conservatory’s long affiliation with piano lessons. We spent hours practising the University of Toronto began in 1896 music listed in the RCM syllabi, and ended in 1991. The saga of this on- performed nervously for RCM again, off-again relationship is told examiners, as well as studying and gradually throughout the book, and the writing theory, history, and harmony success or failure of an RCM principal tests during summer vacations. Ezra seemed to lie, in part, in how the Schabas, in There’s Music in These affiliation was managed. What started as Walls, introduces a side of the symbiosis (the RCM benefited from Conservatory that most Canadians never university affiliation; the U of T see: the on-campus, Toronto-based benefited from student tuition revenue) music school. degenerated over the years into bickering over land, buildings, faculty, Schabas’s personal history and and, of course, finances. As a former expertise shine in this work. His principal himself, Schabas does not previous publications include Sir Ernest hesitate to give his candid opinions of MacMillan: The Importance of Being various administrators, past and present. Canadian (1994) and (with Carl Morey) Opera Viva: Canadian Opera Company: The book’s coffee-table gloss and The First Fifty Years (2000), which format includes an eye-catching dust- explains the weight given to both jacket: a full colour photograph of subjects in There’s Music in These McMaster Hall, the RCM’s well-known Walls.
    [Show full text]
  • Foreign Affairs Gets New Deputy Page 31 Employee
    Canada & the Arctic: Inuit, territories and non-coastal states weigh in—Pages 15-27 EMBASSYCANADA’S FOREIGN POLICY NEWSWEEKLY OTTAWA, WEDNESDAY, APRIL 14, 2010 ISSUE 300 • $3.00 CYBER SECURITY STRATEGY DEMANDED page 4 EU COPYRIGHT DEMANDS CAST A CHILL page 4 POLISH EMBASSY MOURNS PHOTO: SAM GARCIA NATIONAL EMBASSY Not-So-Sombre Moment: Chief of Defence Staff Gen. Walter Natynczyk, Governor General Michaëlle Jean and Prime Minister Stephen Harper laugh last week during a ceremony commemorating the 93rd anniversary of Vimy Ridge. Participants also remembered Canada’s First World War veterans, the last of whom died this year. Page 9. LOSS page 2 Experts see Is Security Council bid prompting link between pseudo-interest in Africa? ■ Michaëlle Jean trip highlights increased According to a rough itinerary of Ms. Jean’s trip, Gualtieri, the governor general will talk about the role of the outreach, but absence of solid initiatives. media in Senegal and Rwanda, tour several CIDA proj- ects in Rwanda and the DRC, deliver a speech to the Lee Berthiaume DRC National Assembly, and look at the economic Colvin cases and social progress achieved in Cape Verde. Ms. Jean, who was asked by Prime Minister ■ Gualtieri’s case ‘would have been an overnor General Michaëlle Jean will lead a small GCanadian delegation on a four-country tour of Stephen Harper to undertake the trip, will be embarrassment,’ whistleblower says. Africa starting today that will include stops in Rwanda, accompanied almost exclusively by several media Senegal, the Democratic Republic of Congo and Cape experts, artists and human rights activists. Above STRONGER Carl Meyer Verde.
    [Show full text]
  • Sir Ernest Macmillan Collection CA OTUFM 15
    University of Toronto Music Library Sir Ernest MacMillan collection CA OTUFM 15 © University of Toronto Music Library 2020 Contents Sir Ernest MacMillan ........................................................................................................................................ 3 Ezra Schabas ....................................................................................................................................................... 3 Sir Ernest MacMillan collection ................................................................................................................... 3 Series A: Research files and correspondence ............................................................................... 3 Series B: Interviews conducted by Ezra Schabas ...................................................................... 21 Sir Ernest MacMillan collection University of Toronto Music Library CA OTUFM 15 Sir Ernest MacMillan 1893-1973 Sir Ernest MacMillan, conductor, organist, pianist, composer, educator, writer, administrator, was born in Mimico (Metropolitan Toronto) on August 18, 1893, and died in Toronto on May 6,1973. He was one of the most influential Canadian musicians of the middle 20th century. Ezra Schabas 1924- Prof. Ezra Schabas was born in New York and received his Diploma in Clarinet (1943) and Bachelor of Science (1948) from the Juillard School. In 1949, he received his Master of Arts from Columbia University. He also studied at the Conservatoire de Nancy, and the Fontainebleau School for the Arts in France
    [Show full text]
  • A Selective Guide of Canadian Choral Compositions Appropriate for the Senior High School Choir (Repertoire, Secondary School)
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1986 A Selective Guide of Canadian Choral Compositions Appropriate for the Senior High School Choir (Repertoire, Secondary School). James Patrick Mccormick Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Mccormick, James Patrick, "A Selective Guide of Canadian Choral Compositions Appropriate for the Senior High School Choir (Repertoire, Secondary School)." (1986). LSU Historical Dissertations and Theses. 4249. https://digitalcommons.lsu.edu/gradschool_disstheses/4249 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 reproduction was made from a copy of a manuscript sent to us for publication and microfilming. While the most advanced technology has been used to pho­ tograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. Pages in any manuscript may have indistinct print. In all cases the best available copy has been filmed. The following explanation of techniques is provided to help clarify notations which may appear on this reproduction. 1. Manuscripts may not always be complete. When it is not possible to obtain missing pages, a note appears to indicate this. 2. When copyrighted materials are removed from the manuscript, a note ap­ pears to Indicate this. 3. Oversize materials (maps, drawings, and charts) are photographed by sec­ tioning the original, beginning at the upper left hand comer and continu­ ing from left to right in equal sections with small overlaps.
    [Show full text]
  • 1970-71-Rapport-Annuel.Pdf
    14e Rapport annuel Conseil des Arts du Canada 1970-1971 L’honorable Gérard Pelletier, Secrétaire d’gtat du Canada, Ottawa, Canada. Monsieur le Ministre, Conformément à l’article 23 de la Loi sur le Conseil des Arts du Canada (5-6 Elisabeth II, 1957, chapitre 3), j’ai l’honneur de vous transmettre, pour présentation au Parlement, le rapport du Conseil des Arts du Canada pour l’exercice financier qui s’est terminé le 31 mars 1971. Veuillez agréer, Monsieur le Ministre, l’assurance de mes sentiments distinguéi. Le président, John G. Prentice. Le 30 juin 1971. Table des matières Les arts Les humanités et les sciences sociales Autres programmes 50 Niveaux des subventions, 1966-67 à 90 Prix et distinctions 10 Introduction 1970-71 91 Echanges culturels 12 Niveaux des subventions, 1966-67 à 51 Formation des chercheurs 1970-71 Bourses de doctorat; répartition des 96 Commission canadienne pour I’Unesco bourses de doctorat par discipline. 14 La musique et l’opéra 100 Stanley House 54 Travaux de recherche 21 Le théâtre Bourses de travail libre; répartition des Finances bourses de travail libre par discipline. 102 Introduction 27 Ladanse Subventions de recherche; répartition des subventions de recherche par 105 Etat financier 30 Les arts plastiques, le cinéma discipline. Liste des bourses de travail et la photographie libre, des subventions Killam et des Appendice 1 subventions de recherche de $5,000 119 Liste des bourses de doctorat 39 Les lettres et plus. Appendice 2 48 Divers 79 Communications entre chercheurs 124 Liste des subventions de recherche Aide à l’édition, rencontres et confé- ($5,000 ou moins) rences, et participation à des rencon- tres internationales (frais de voyage).
    [Show full text]
  • Introduction Gordon E
    Document generated on 09/28/2021 3:04 p.m. Intersections Canadian Journal of Music Revue canadienne de musique Introduction Gordon E. Smith Musical Perspectives, People, and Places: Essays in Honour of Carl Morey Volume 33, Number 2, 2013 URI: https://id.erudit.org/iderudit/1032691ar DOI: https://doi.org/10.7202/1032691ar See table of contents Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 1911-0146 (print) 1918-512X (digital) Explore this journal Cite this document Smith, G. E. (2013). Introduction. Intersections, 33(2), 3–6. https://doi.org/10.7202/1032691ar Copyright © Canadian University Music Society / Société de musique des This document is protected by copyright law. Use of the services of Érudit universités canadiennes, 2013 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ INTRODUCTION Gordon E. Smith This special issue of Intersections, titled “Musical Perspectives, People, and Places: Essays in Honour of Carl Morey,” is offered as a tribute to Canadian musicologist Carl Morey, who celebrated his eightieth birthday in 2014. Born in Toronto, Carl1 studied piano with Warren Mould and conducting with Boyd Neel and Nicholas Goldschmidt at the Royal Conservatory. He graduated from the Faculty of Music at the University of Toronto with the degree of Bachelor of Music in music history and literature in 1957.
    [Show full text]