Volume 27, Number 05 (May 1909) James Francis Cooke
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The Year's Music
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c. -
A Guide to Vibrato & Straight Tone
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 The Versatile Singer: A Guide to Vibrato & Straight Tone Danya Katok The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1394 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE VERSATILE SINGER: A GUIDE TO VIBRATO & STRAIGHT TONE by DANYA KATOK A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2016 ©2016 Danya Katok All rights reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music to satisfy the dissertation requirement for the degree of Doctor of Musical Arts Date L. Poundie Burstein Chair of the Examining Committee Date Norman Carey Executive Officer Philip Ewell, advisor Loralee Songer, first reader Stephanie Jensen-Moulton L. Poundie Burstein Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract THE VERSATILE SINGER: A GUIDE TO VIBRATO & STRAIGHT TONE by Danya Katok Advisor: Philip Ewell Straight tone is a valuable tool that can be used by singers of any style to both improve technical ideals, such as resonance and focus, and provide a starting point for transforming the voice to meet the stylistic demands of any genre. -
Biannual Report
Biannual Report Department of Mathematics 2007 and 2008 Contents 1 The Department of Mathematics 6 2 Research 8 2.1 Research Groups . 8 2.1.1 Algebra, Geometry and Functional Analysis . 8 2.1.2 Analysis . 16 2.1.3 Applied Geometry . 29 2.1.4 Didactics and Pedagogics of Mathematics . 32 2.1.5 Logic . 44 2.1.6 Numerics and Scientific Computing . 56 2.1.7 Optimization . 64 2.1.8 Stochastics . 85 2.2 Memberships in Scientific Boards and Committees . 92 2.3 Awards and Offers . 93 3 Teaching and Learning 95 3.1 Study Programs in Mathematics . 95 3.2 Service Teaching . 96 3.3 Characteristics in Teaching . 97 3.4 E-Learning/E-Teaching in Academic Training . 98 3.5 Student Body of the Department . 99 4 Publications 101 4.1 Co-Editors of Publications . 101 4.1.1 Editors of Journals . 101 4.1.2 Editors of Proceedings . 103 4.1.3 Editors of a Festschrift . 103 4.2 Monographs and Books . 103 4.3 Publications in Journals and Proceedings . 104 4.3.1 Journals . 104 4.3.2 Proceedings and Chapters in Collections . 118 4.4 Preprints . 125 4.5 Reviewing and Refereeing . 130 4.5.1 Reviewing Articles and Books . 130 4.5.2 Refereeing for Journals, Proceedings, and Publishers . 130 4.6 Software . 134 4.7 Postdoctoral lecture qualification (Habilitationen) . 135 4.8 Dissertations . 135 4.9 Master Theses and Theses for the State Board Examinations . 137 5 Presentations 146 5.1 Talks and Visits . 146 5.1.1 Invited Talks and Addresses . -
Historie Der Rheinischen Musikschule Teil 1 Mit Einem Beitrag Von Professor Heinrich Lindlahr
Historie der Rheinischen Musikschule Teil 1 Mit einem Beitrag von Professor Heinrich Lindlahr Zur Geschichte des Musikschulwesens in Köln 1815 - 1925 Zu Beginn des musikfreundlichen 19. Jahrhunderts blieb es in Köln bei hochfliegenden Plänen und deren erfolgreicher Verhinderung. 1815, Köln zählte etwa fünfundzwanzigtausend Seelen, die soeben, wie die Bewohner der Rheinprovinz insgesamt, beim Wiener Kongreß an das Königreich Preußen gefallen waren, 1815 also hatte von Köln aus ein ungenannter Musikenthusiast für die Rheinmetropole eine Ausbildungsstätte nach dem Vorbild des Conservatoire de Paris gefordert. Sein Vorschlag erschien in der von Friedrich Rochlitz herausgegebenen führenden Allgemeinen musikalischen Zeitung zu Leipzig. Doch Aufrufe solcher Art verloren sich hierorts, obschon Ansätze zu einem brauchbaren Musikschulgebilde in Köln bereits bestanden hatten: einmal in Gestalt eines Konservatorienplanes, wie ihn der neue Maire der vormaligen Reichstadt, Herr von VVittgenstein, aus eingezogenen kirchlichen Stiftungen in Vorschlag gebracht hatte, vorwiegend aus Restklassen von Sing- und Kapellschulen an St. Gereon, an St. Aposteln, bei den Ursulinen und anderswo mehr, zum anderen in Gestalt von Heimkursen und Familienkonzerten, wie sie der seit dem Einzug der Franzosen, 1794, stellenlos gewordene Salzmüdder und Domkapellmeister Dr. jur. Bernhard Joseph Mäurer führte. Unklar blieb indessen, ob sich der Zusammenschluss zu einem Gesamtprojekt nach den Vorstellungen Dr. Mäurers oder des Herrn von Wittgenstein oder auch jenes Anonymus deshalb zerschlug, weil die Durchführung von Domkonzerten an Sonn- und Feiertagen kirchenfremden und besatzungsfreundlichen Lehrkräften hätte zufallen sollen, oder mehr noch deshalb, weil es nach wie vor ein nicht überschaubares Hindernisrennen rivalisierender Musikparteien gab, deren manche nach Privatabsichten berechnet werden müssten, wie es die Leipziger Allgemeine musikalische Zeitung von 1815 lakonisch zu kommentieren wusste. -
Js Paluch Company
WELCOME! Assumption of the Blessed Virgin Mary Church 2640 E. Orange Grove Blvd., Pasadena, CA 91107 www.abvmpasadena.org Pastor: Fr. Michael Ume Pastoral Associate: Sr. Susan Slater, SHCJ Visiting Priest: Fr. Alan Phillip, C.P. Business Manager: Kathy Tracy School Principal: Patricia Hagar Mass Schedule Saturday Vigil: 5:00PM Sunday: 7:30AM 9:00AM 11:00AM 5:00PM Monday - Saturday: 8:15AM Confessions: 2nd & 4th Saturdays 3:30-4:30PM Office Hours: Monday-Friday 9:00AM-Noon & 1:00-4:00PM (626)792-1343 (626)792-0052 (Fax) Page Two WELCOME TO ASSUMPTION OF THE BLESSED VIRGIN MARY CHURCH January 6, 2019 How to Contact Us Seniors Brynn Fisher, (626) 795-3673, [email protected] www.abvmpasadena.org Scheduling of Ministers for Mass Liz Oberreiter, (626) 290-2126, [email protected] Pastor: (626)792-1343 Fr. Michael Ume The Society of Saint Vincent de Paul, Assumption BVM-Conference: Pastoral Associate (626)792-1343 x508 Robert Wyatt, President Sr. Susan Slater, SHCJ Hotline for Assistance: (626)657-0836 Parish Staff: (626)792-1343 For free pick-up of large donations like Katherine Tracy, Parish Business Manager appliances, furniture & vehicles Call: (800)974-3571 or (323)224-6280 [email protected] Mary Parra, Secretary, Ushers [email protected] Head Usher-Eddie Robledo, (626) 791-2222 Assistant Head Usher-Kyle Kveton, 213-706-8000. Chandra Persad, Secretary, [email protected] Mother Mary Visitation Ministry Linda Mennis, Bulletin, Lorna Willard - (626)533-7655 [email protected] Women’s Carmelite Retreat Assumption School (626)793-2089 Cheryl Harlow - (626)794-7813, [email protected] Kerry Holtz, Principal Young Adult Ministry [email protected] Manny Soriano - [email protected] Faith Formation Coordinator Pre-School to Teen (626)792-6844 Cheli Valdez, Join Us In Worship [email protected] Holy Day of Obligation Schedule: Adult Faith Formation Coordinator Vigil: 7:00PM (626)792-1343 x508 Holy Day: 8:15AM, 7:00PM Sr. -
UNIVERSITY of CALIFORNIA Los Angeles Reexamining Portamento As an Expressive Resource in Choral Music, Ca. 1840-1940 a Disserta
UNIVERSITY OF CALIFORNIA Los Angeles Reexamining Portamento as an Expressive Resource in Choral Music, Ca. 1840-1940 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Desiree Janene Balfour 2020 © Copyright by Desiree Janene Balfour 2020 ABSTRACT OF THE DISSERTATION Reexamining Portamento as an Expressive Resource in Choral Music, ca. 1840-1940 by Desiree Janene Balfour Doctor of Musical Arts University of California, Los Angeles, 2020 Professor William A. Kinderman, Co-Chair Professor James K. Bass, Co-Chair This study reexamines portamento as an important expressive resource in nineteenth and twentieth-century Western classical choral music. For more than a half-century, portamento use has been in serious decline and its absence in choral performance is arguably an impoverishment. The issue is encapsulated by John Potter, who writes, “A significant part of the early music agenda was to strip away the vulgarity, excess, and perceived incompetence associated with bizarre vocal quirks such as portamento and vibrato. It did not occur to anyone that this might involve the rejection of a living tradition and that singers might be in denial about their own vocal past.”1 The present thesis aims to show that portamento—despite its fall from fashion—is much more than a “bizarre vocal quirk.” When blended with aspects of the modern aesthetic, 1 John Potter, "Beggar at the Door: The Rise and Fall of Portamento in Singing,” Music and Letters 87 (2006): 538. ii choral portamento is a valuable technique that can enhance the expressive qualities of a work. -
The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions. -
Adelina Patti Galt Als Eine Herausragende Opernsängerin Internationalen Ranges Des Italienischen Belcanto
Patti, Adelina gendste Interpretin des Belcanto, und wenn sie auf der Bühne oder auf dem Podium erschien, löste ihre süße, glockenhelle, glänzend geschulte Stimme das Entzücken der Zuhörer aus. Dazu kam ihre hübsche, zarte Erschei- nung, ein lebhaftes Mienenspiel und feuriges Versenken in ihren Vortrag.“ Pester Lloyd, ”Morgenblatt”, 30. September 1919, 66. Jg., Nr. 183, S. 5. Profil Adelina Patti galt als eine herausragende Opernsängerin internationalen Ranges des italienischen Belcanto. Ne- ben ihrem Gesangsstil wurde auch ihre Schauspielkunst, die von Charme und großer Natürlichkeit geprägt war, ge- rühmt. Orte und Länder Adelina Patti wurde als Kind italienischer Eltern in Mad- rid geboren. Ihre Kindheit verbrachte sie in New York. Nach ihrem Konzertdebut 1851 in dieser Stadt unter- nahm die Sopranistin Konzerttourneen durch Nordame- rika, Kuba, die Karibik, Kanada und Mexiko. Nach ihrem großen Erfolg 1861 in London trat sie in der englischen Musikmetropole regelmäßig über 40 Jahre auf. Auch auf der Pariser Opernbühne war die Sängerin kontinuierlich präsent. Weiterhin unternahm die Künstlerin regelmäßig Tourneen durch ganz Europa und sang in Städten wie Wien, Berlin, Hamburg, Dresden, Wiesbaden, Amster- Adelina Patti, Hüftbild von Ch. Reutlinger dam, Brüssel, Florenz, Nizza, Rom, Neapel, Madrid, Liss- abon, Petersburg und Moskau. Mehrere Konzertreisen führten Adelina Patti wiederholt nach Nord -, Mittel- Adelina Patti und Südamerika. 1878 kaufte die Sängerin in Wales das Ehename: Adelina Adela Cederström Schloss „Craig-y-Nos“ wo sie die Zeit zwischen den Varianten: Adelina de Cuax, Adelina Nicolini, Adelina Tourneen verbrachte. Auf diesem Schloss veranstaltete Cederström, Adelina Patti-Nicolini, Adelina Adela Juana die Künstlerin regelmäßig Konzertabende. Maria Patti, Adelina Adela Juana Maria de Cuax, Adelina Adela Juana Maria Nicolini, Adelina Adela Juana Maria Biografie Cederström, Adelina Adela Juana Maria Patti-Nicolini Adelina Patti stammte aus einer Musikerfamilie. -
Julius Stockhausen's Early Performances of Franz Schubert's
19TH CENTURY MUSIC Julius Stockhausen’s Early Performances of Franz Schubert’s Die schöne Müllerin NATASHA LOGES Franz Schubert’s huge song cycle Die schöne mances of Die schöne Müllerin by the baritone Müllerin, D. 795, is a staple of recital halls and Julius Stockhausen (1826–1906), as well as the record collections, currently available in no responses of his audiences, collaborators, and fewer than 125 recordings as an uninterrupted critics.3 The circumstances surrounding the first sequence of twenty songs.1 In the liner notes of complete performance in Vienna’s Musikverein one recent release, the tenor Robert Murray on 4 May 1856, more than three decades after observes that the hour-long work requires con- the cycle was composed in 1823, will be traced.4 siderable stamina in comparison with operatic Subsequent performances by Stockhausen will roles.2 Although Murray does not comment on the demands the work makes on its audience, this is surely also a consideration, and certainly 3For an account of early Schubert song performance in a one that shaped the early performance history variety of public and private contexts, see Eric Van Tassel, of the work. This article offers a detailed con- “‘Something Utterly New:’ Listening to Schubert Lieder. sideration of the pioneering complete perfor- 1: Vogl and the Declamatory Style,” Early Music 25/4 (November 1997): 702–14. A general history of the Lied in concert focusing on the late nineteenth century is in Ed- ward F. Kravitt, “The Lied in 19th-Century Concert Life,” This study was generously funded by the British Academy Journal of the American Musicological Society 18 (1965): in 2015–16. -
The Buffalo Soldiers in Vermont, 1909–1913
The Buffalo Soldiers in Vermont, 1909–1913 The arrival of the Tenth Cavalry sent Burlington into demographic shock. Almost overnight the small city acquired a substantial black community, a situation that clearly dismayed many residents. By David Work n July 1909, the Tenth United States Cavalry Regiment, one of four regular army black regiments collectively known as the Buffalo ISoldiers, arrived in Burlington, Vermont, to begin a four-year tour of duty at Fort Ethan Allen in neighboring Colchester. Their arrival alarmed the almost exclusively white population. Many people feared the presence of sizable numbers of African American soldiers in their community and a bitter debate ensued over whether the city should adopt Jim Crow facilities. For the next four years, the Tenth Cavalry would encounter similar reactions as it traveled throughout the north- east and as far south as Winchester, Virginia. Wherever they went, the black soldiers faced fear and suspicion and had to demonstrate good behavior to win the acceptance of the white population. Created in 1866, the Tenth Cavalry achieved its greatest fame in the late nineteenth century on the western frontier and then served with distinction during the Spanish-American War. In that conflict, the regi- ment charged up San Juan Hill with Theodore Roosevelt’s Rough Riders and won public renown as the “fighting Tenth Cavalry.” In the early twentieth century, the Tenth fought in the Philippine War, served in ..................... DAVID WORK earned his Ph.D. in American history in May 2004 at Texas A&M University in College Station, Texas. He is currently teaching at Texas A&M Uni- versity in Doha, Qatar. -
Methods of Social Reform
METHODS OF SOCIAL REFORM. METHODS OF SOCIAL REFORM AND OTHER PAPERS BY W. STANLEY JEVONS, M.A., LL.D., F.R.S. &mbm MACMILLAN AND CO. 1883 [All sightr rW.1 PREFACE. A FEW words will explain that this volume is a collection of the Essays published under the title of Methods of Social Reform” in The Contemporary Rcckw, and of otherpapers and addresses on kindredsubjects. They extend over a period of fifteen years, and I have given at the commencement of eachpaper the date at which it was written, 89 I have thought it better to arrange them as far &9 I Could according to subjects rather than by date. It was my husband’s inten- tion to have republished these Essays himself, and with this view hehad already revised two of them--“ Experimental Legislation and the Drink Traffic,” and “Amusements of the People ;” to the latter he had added several new paragraphs, He would, I am sure, have carefully edited and revised the others in the same way, but they are now republished just as theywere originally written. The Essay on “The Use and Abnse of Museums ’’ has not before been published. It was chie0y written in 1881, for Contemporary Reuieu~,but wm laid aside from the pressure of other work, and I am unable to say the exact time at which it waa hished. It still the halrevision which he wodd have given before sending it vi PREFACE. to Prerre. The Lecture on rr Industrial Partnerships" ie m- fedto by Mr. Jevona in his book on Ir The State in Relation to Labour,'' * p. -
William Belton Boyle Papers
Manuscripts Collections South Caroliniana Library University of South Carolina William Belton Boyle Papers Contact Information: South Caroliniana Library University of South Carolina Columbia SC 29208 803-777-3132 Email: [email protected] © 2018 University of South Carolina Libraries Creator: Boyle, W.B. (William Belton), 1861-1916. Title: William Belton Boyle Papers, 1893-1918 Materials stored offsite; advance notification required. Extent: 16.25 linear ft. (13 cartons) 59 volumes Background: Businessman and city official of Sumter, S.C. Native of Fairfield County, S.C. Operated livestock business and livery stable. President of W.B. Boyle Company, Farmers' Gin Company, Citizens' Meat Market, Greeleyville Live Stock Company. Director, National Bank of South Carolina. Member, Sumter City Council (3 terms). Mayor of Sumter (2 terms). Accession Number: 10847 Summary: Bound volumes include 5 ledgers (1899-1912); 16 day books (1900-1914); 9 cash books (1900-1912); 2 guano books (1901-1918); 3 cotton books [purchases] (1902-1907); invoice book (1902-1903); 4 account books (1903- 1917); cotton seed hull purchase book (1904-1907); 2 order books (1903 and 1907); letterbook (1904); livery stable rental book (1906); 6 stock books (c. 1907-1913); cotton ginning book (1908-1909); wagon, buggy, and horse sale book (c. 1913); and 6 miscellaneous volumes. Business and personal papers of W.B. Boyle, 1906-1910, business papers relating primarily to his livestock business; personal correspondence reflecting his involvement in civic enterprises and fraternal organizations and including letters from his children at school—Emma, a student at Elizabeth College (Charlotte, N.C.); Martie, a student at the College for Women, Columbia (class of 1913); and E.B.