DOCSLIB.ORG

Joel Zwick August 10–28, 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Joel Zwick August 10–28, 2016 PRESENTS The Eighty-Eight Entertainment, Samantha F. Voxakis and Karen Racanelli Production of MUSIC & LYRICS BY BOOK BY LEONARD BERNSTEIN & OTHERS HERSHEY FELDER SCENIC DESIGN LIGHTING & PROJECTION DESIGN François-Pierre Couture Christopher Ash SOUND DESIGN/LINE PRODUCER PRODUCTION Erik Carstensen Trevor Hay DIRECTED BY JOEL ZWICK AUGUST 10–28, 2016 Bram Goldsmith Theater This Play is presented by permission of The Leonard Bernstein Office, Inc. The name and likeness of Leonard Bernstein are US-registered trademarks used under license from The Leonard Bernstein Office, Inc. This production is made possible in part by generous support from the Lynn and Les Bider Family Foundation. PERFORMANCES MAGAZINE 3 About the Artists College, Queens College, Wheaton College and the historic Old Globe Theatre in San Diego where, USC. A graduate (B.A., M.A.) of Brooklyn College, at the age of nine, his first position was selling Old he currently directs for the Disney Channel. Globe memorabilia. Over the next 32 years, Mr. Hay went on to various aspects of production on more FRANÇOIS-PIERRE COUTURE (Scenic than 80 presentations, including the Broadway Design) After completing a Masters' degree at productions of Jack O'Brien's Damn Yankees, How UCLA in Scenic and Lighting Design, François- The Grinch Stole Christmas, and Twyla Tharpe's Pierre started working in Los Angeles, a city he The Times They Are A-Changin'. Included in his 23 finds culturally fascinating and diverse. In the seasons at the Old Globe were eleven seasons of last decade, he has had the privilege of working the Summer Shakespeare Festival Repertory, as across the U.S. as a scenic, lighting and projection well as work on Tracy Letts' August: Osage County, designer. Some of his designs include Everything directed by Sam Gold, and Hershey Felder's George You Touch for Rattlestick productions at the Cherry Gershwin Alone, Monsieur Chopin and Maestro Lane Theatre in NYC; Destiny of Desire at Arena Bernstein. Stage in Washington DC; Pinocchio and James and the Giant Peach The Year KAREN RACANELLI HERSHEY FELDER (Leonard Bernstein/ at South Coast Repertory; (Executive Producer) of Magical Thinking Death Playwright) Mr. Felder created and performed at the Laguna Playhouse; Karen comes to Eighty Eight Entertainment from of a Salesgirl The Children George Gershwin Alone, which played on Broadway at the Bootleg Theatre; Berkeley Repertory Theatre, where she worked as A Picasso at the Helen Hayes Theatre, in the West End at at the Boston Court Theatre; at Geffen General Manager since 1993, overseeing daily Médée Teseo the Duchess Theatre, and in theatres around the Playhouse; and for the Chicago operations, and where she had the pleasure of country. His Composers Sonata—George Gershwin Opera Theatre. producing several shows performed and/or directed Alone; Monsieur Chopin; Beethoven, As I Knew by Hershey Felder. She has represented the League Him; Maestro Bernstein; Hershey Felder as Franz CHRISTOPHER ASH (Lighting and Projection of Resident Theatres during negotiations with both Liszt in Musik, Hershey Felder as Irving Berlin—has Design) is an international designer of scenery, Actors’ Equity Association and the union of Stage been presented at dozens of theatres across the lighting, and projections for theatre, dance, opera, Directors and Choreographers, served on LORT’s U.S. and around the world. His compositions and and film. Recent projects include projection design Executive Committee and served as a panelist Carmina Burana A recordings include Aliyah, Concerto for Piano for (Chautauqua Institute), at several LORT meetings. Prior to her tenure at Midsummer Night's Dream and Orchestra; Fairytale, a musical; Les Anges de (Guthrie Theatre), scenic Berkeley Rep, Karen worked as an independent Paris, Suite for Violin and Piano; Song Settings; design for The Fairy Tale Lives of Russian Girls (Yale producer at several Bay Area theatre companies Saltimbanques for Piano and Orchestra; Etudes Repertory), projections for La Traviata (Lyric Opera and has served on the boards of Climate Theater, Marie Antoinette Thematiques for Piano; and An American Story of Chicago), (SOHO Rep), lighting Overtone Theatre Company, Park Day School, and One Hour:Two Works for Actor and Orchestra. As director, he premiered for Heidi Latsky Dance’s and the Julia Morgan Center. Karen is married to arts GiMP Mona Golabek in The Pianist of Willesden Lane . Production and lighting design for Amanda attorney MJ Bogatin. at the Geffen Playhouse in 2012 and, earlier this Palmer’s music video “Bedsong.” He received his SAMANTHA F. VOXAKIS year, produced and created scenic design for Taylor MFA in set design from the Yale School of Drama. (Producer/Company Hackford’s Louis and Keely ‘Live’ at the Sahara. Mr. Manager) Samantha is a native of Maryland where ERIK CARSTENSEN Felder has been a scholar-in-residence at Harvard (Sound Designer/ she spent twelve memorable years working in the Hershey Felder as University’s Department of Music and is married Producer) Sound Designer on front office of the Baltimore Orioles. Since 2004, Irving Berlin, An American Story, The Pianist of to Kim Campbell, the first female Prime Minister Sam has been responsible for the day-to-day Willesden Lane of Canada. (2012 Ovation Award Nomination), operations of Eighty-Eight LLC/Hershey Felder Franz Liszt in Musik, Abe Lincoln’s Piano, and Presents. With special thanks to her family and Mr. Louis and Keely ‘Live’ at the Sahara. JOEL ZWICK (Director) Joel Zwick directed Master Sound Felder. My Big Fat Greek Wedding, the highest-grossing Technician at the Old Globe Theatre in San Diego HERSHEY FELDER PRESENTS romantic comedy of all time. Mr. Zwick is 1997-2012. Production Engineer on over 60 (Producer) Allegiance, Robin and the recognized as one of Hollywood’s most prolific productions, including Hershey Felder Presents is the newest division Seven Hoods, A Catered Affair, Hershey Felder’s director of episodic television, having the direction of Eighty-Eight Entertainment which was created George Gershwin Alone, Dirty Rotten Scoundrels, of 650 episodes to his credit. These include in 2001 by Hershey Felder and is devoted to the Chita Rivera-A Dancers Life, Dr. Seuss’ How the having directed 21 pilots which have gone on to creation of new works of musical theatre. Current Grinch Stole Christmas!, The Full Monty, Dirty Our Great become regular series. He directed the Broadway projects include the musical plays Blonde, Floyd Collins. Tchaikovsky, Hershey Felder as Irving Berlin, The production of George Gershwin Alone. Previous and Erik is a member of IATSE Pianist of Willesden Lane, Louis and Keely ‘Live’ New York productions have included Dance Local 122. and at the Sahara. Love Songs of With Me (Tony Award nomination), Shenandoah Recordings include TREVOR HAY the Yiddish Theatre, Back from Broadway, George (Broadway national tour), Oklahoma (national tour) (Production) Directed the world An American Story for Actor and Gershwin Alone, Monsieur Chopin, Beethoven As and Cold Storage (American Place Theater). He premieres of Orchestra, Abe Lincoln's Piano, Hershey Felder as I Knew Him, An American Story for Actor & directed Esther (Promenade Theater, NY), Merry- and Franz Liszt In Musik, Hershey Felder as Irving Orchestra. Go-Round (Chicago, Las Vegas), Last Chance Saloon and Berlin and Woyzeck (West End, London). Mr. Zwick has . He is Associate Director for Mona Golabek's The Pianist of Willesden Lane. taught drama at the Yale School of Drama, Brooklyn Former member of 4 PERFORMANCES MAGAZINE About the Program ACKNOWLEDGMENTS Opening Night Alexander Bernstein, Jamie Bernstein, Nina Bernstein, Humphrey Burton, Matthew Burton, Craig Urquhart, Marie Carter, Lola Kavonic, Henry and Frances Fogel, Eleonor Sandresky, Susan Myerberg, Sponsors Richard Ortner, Michael Lewin, Dan Gustin, Dr. Jeffrey Kallberg; Ray White at the Library of Congress. The Wallis is deeply Arnon Adar, Dan and Phyllis Epstein, Irv and Dena Schechter, Ken and Katrina Carlson, Susan and Moses grateful to our many Libitzky, Richard and Robin Tennant Colburn; Beth Schenker, Steve Robinson and the WFMT Radio Network; Jay Shields, Benjamin Salisbury and Steinway & Sons. generous Sponsors of the Hershey Felder Opening Grosses bises à notre famille à Seine-Port— Pierre, Isa, Amandine, et Reglisse. Night Celebration on * A heartfelt thank you to my team of devoted artists without whom none of our work would be possible, August 10, 2016: especially Karen Racanelli, Erik Carstensen, Trevor Hay, Christopher Ash, Meghan Maiya, Jordan and Emma Hay, Joey Moro, Devin Morrow, Richard Norwood, Rebecca Peters, Lawrence Siefert, Camille & Arnon Adar Megan Snowder, Joseph Yoshitomi, Samantha and the entire Greek Family. Laura & Harvey Alpert Thanks to Paul Crewes, Rachel Fine, Joel Hile, William Nedved, James D’Asaro, Patricia Wolff, Chris Soley, Elgart Aster & Paul Swerdlove Kevin Service, Laura Hill, Julien Elstob, the house staff and box office, and everyone at The Wallis. David C. Bohnett Daniel Clivner & Steven Cochran A special thank you to Candice and Joel Zwick, and Joel Zwick “Alone”. Eunice David My father Jack, my sister and brother-in-law Tammy and Kevin, and their dear children Avery and Kiley. Sharon & Gray Davis And of course, Leo and Kim. Mimi Alpert Feldman & Irv Cooper Hon. Donna Ellman Garber Benita & Bert Ginsberg Mark Huberman MUSICAL SELECTIONS Lee Kaplelovitz “Somewhere” Lamentations Ric & Suzanne Kayne Foundation from West Side Story, music by Leonard from Symphony No. 1: Jeremiah, music by Laurie & Lyn Konheim Bernstein, lyrics by Stephen Sondheim Leonard Bernstein Pearle Rae & Mark Levey “Carried Away” Greeting Karen & Walter Loewenstern from On the Town; music by Leonard from Arias and Barcarolles, music by Lois & Jerry Magnin Bernstein, book and lyrics by Betty Comden Leonard Bernstein Maurice Marciano and Adolph Green, additional lyrics by Linda May & Jack Suzar Leonard Bernstein “Glitter and Be Gay” from Candide, music by Leonard Bernstein, Ann Mulally & K. Eugene Shutler Piano Sonata lyrics by Richard Wilbur Marylouise Oates & Bob Shrum music by Leonard Bernstein Hon.
Load more

Recommended publications
  • Season 20 Season 2011-2012
    Season 2020111111----2020202011112222 The Philadelphia Orchestra Thursday, March 888,8, at 8:00 Friday, March 999,9, at 222:002:00:00:00 Saturday, March 101010,10 , at 8:00 James Gaffigan Conductor Stewart Goodyear Piano Bernstein Symphonic Suite from On the Waterfront Gershwin/orch. Grofé Rhapsody in Blue Intermission Tchaikovsky Excerpts from Swan Lake, Op. 20 I. Scene II. Waltz III. Dance of the Swans IV. Scene V. Hungarian Dance, Czardas VI. Spanish Dance VII. Neapolitan Dance VIII. Mazurka IX. Scene X. Dance of the Little Swans XI. Scene XII. Final Scene This program runs approximately 1 hour, 50 minutes. American conductor James Gaffigan, who is making his Philadelphia Orchestra debut with these performances, was recently appointed chief conductor of the Lucerne Symphony and principal guest conductor of the Netherlands Radio Philharmonic; he assumed both posts in the summer of 2011. This season he debuts with the Atlanta Symphony and the Los Angeles Philharmonic and makes return visits to the Minnesota Orchestra and the Baltimore, Dallas, Milwaukee, National, and Toronto symphonies. Recent and upcoming festival appearances include the Aspen, Blossom, Grant Park, and Grand Teton music festivals, and the Spoleto Festival USA. In Europe he makes debuts with the Czech, Dresden, and London philharmonics. In 2009 Mr. Gaffigan completed his three-year tenure as associate conductor with the San Francisco Symphony. Prior to that appointment he was assistant conductor of the Cleveland Orchestra. He has appeared with such North American orchestras as the Saint Paul Chamber Orchestra and the Chicago, Detroit, Houston, New World, Seattle, and Saint Louis symphonies.
    [Show full text]
  • 1661 Vll3d0 3H.L .LV .LNVA3'l
    1661 ·~upds 06v :l!snw 1un woN ~u-e r .A.rnw Vll3d0 3H.L .LV .LNVA3'l liV~SO Oscar Levant is known for his songs in the area of popular music, but his operas are virtually unknown. Obtaining and studying any one of his three operas should be important for establishing him as more than a popular-music composer. Levant's opera Carnival, from the 20th Century Fox movie Charlie Chan at the Opera, is especially worthy of consideration. Through careful analysis of this work, much can be learned about the style and interests of Oscar Levant. While comparisons to other composers and their works may be too extensive for this specific paper, some comparisons to Levant's own popular tunes of the same time period as Carnival may reveal remarkable similarities and/or differences. Along with an analysis of the score, observation of the opera as it is presented in the movie will provide information about the basis for its content and reveal its incorporation into the movie's plot. In addition, seeing the movie will give aural information, such as the types of instruments used. The interest in this topic stems from Oscar Levant's own books­ A Smattering of Ignorance, The Unimportance of Being Oscar, and The Memoirs of an Amnesiac. He refers to this opera in A Smattering of Ignorance. but his references to his musical acquaintances in The Memoirs of an Amnesiac may supply additional facts to help in understanding his musical style. Examining c 'arnival will contribute to showing the significance of Oscar Levant's style of composition.
    [Show full text]
  • 2019 Summer Season Announcement
    1 Press Contacts: Katie B. Watts Press Manager (413) 448-8084 x15 [email protected] Becky Brighenti Director of Marketing & Public Relations (413) 448-8084 x11 [email protected] Please embargo until: Thursday, February 14 at 5pm Berkshire Theatre Group Announces 2019 Summer Season The Fitzpatrick Main Stage Pulitzer Prize-Winner Thornton Wilder’s American Classic The Skin of Our Teeth Kathleen Clark’s World Premiere of What We May Be The Unicorn Theatre Pulitzer Prize and Tony Award-Winner Edward Albee’s The Goat or, Who is Sylvia? Pulitzer Prize and Tony Award-Winner John Patrick Shanley’s Outside Mullingar Tony Award-Nominated Musical Featuring Music By Lin-Manuel Miranda and James Taylor Working: A Musical Mark Harelik’s Touching Drama What The Jews Believe The Colonial Theatre In Association with Tony Award-Winning Caiola Productions 2 New Musical Rock and Roll Man: The Alan Freed Story Based on Oscar-Winning Film Tony Award-Nominated Shrek The Musical Hershey Felder’s Celebrated Musical Play George Gershwin Alone Delightful Musical Adventure Roald Dahl's Willy Wonka KIDS Pittsfield, MA – Berkshire Theatre Group (BTG) and Kate Maguire (Artistic Director, CEO) are thrilled to announce Berkshire Theatre’s 2019 Summer Season. BTG will be releasing a season cast announcement at a later date. According to Maguire, “Coming in on the heels of last year’s 90th celebration, I found myself looking at how we love and care for each other. Which means our 91st season is eclectic and wide open to all kinds of interpretations because we love in so many different ways.” Maguire continues, “We find love in the strangest and most bizarre places in our first play of the 2019 season at The Unicorn Theatre, The Goat or, Who is Sylvia by one of our greatest playwrights, Edward Albee.
    [Show full text]
  • October 2019
    OCTOBER 2019 RHAPSODY IN BLUE OCTOBER 11 – 13, 2019 MASTERWORKS #1: With its uniquely “American” sound, jazz, a mixture of ingredients from diverse ethnicities and cultures, embodies the innovation, passion and creative freedom that has come to represent American values throughout its history. Like the United to music they might not have otherwise States, its birthplace, experienced. While the works of composers jazz was created by such as Stravinsky and Ravel reflect clear blending different jazz influences, it was the trio of American cultures to create composers, Leonard Bernstein, George something altogether Gershwin, and Aaron Copland, who emerged new and distinctly as the bridge between classical and popular “American.” music. It is widely accepted that jazz first developed Leonard Bernstein readily in New Orleans, a city known for its broad confirmed the impact jazz diversity, with people of many different made on his life and his ethnicities, cultures, and classes all living music. As a youngster, in the same area. The musical traditions Bernstein played jazz piano embodied within these different identities at parties and directed led to the development of multiple genres a rhythm band at Camp of music (including ragtime, marches, and Onota in Massachusetts blues) which, in turn, gave birth to jazz. The during the summer. He sounds of African-American and European once said that “jazz is Leonard Bernstein music blended together to give jazz its unique the ultimate common denominator of the identity, and, as a result, jazz is distinctly American musical style.” His undergraduate identified as “American” music. thesis at Harvard University argued that jazz is the universal basis of American composition.
    [Show full text]
  • Appalachian Spring Concert
    CELEBRATING THE AMERICAN LANDSCAPE: Allentown Symphony Orchestra joins with pianist Simon Mulligan and local dancers for Gershwin, Copland program Steve Siegel Special to The Morning Call It’s quite possible that no music evokes the American landscape as strongly as that of George Gershwin and Aaron Copland. Each paints with a broad brush — Copland’s widely spaced chords and vigorous rhythms conspire to create a sound as vividly American as Gershwin’s streetwise use of syncopation and jazz riffs. The Allentown Symphony Orchestra pays tribute to both home-grown composers Feb. 9 and 10 at Miller Symphony Hall. Pianist Simon Mulligan is soloist in Gershwin’s “I Got Rhythm Variations” and “Rhapsody in Blue” in a program that also features Gershwin’s colorful “American in Paris” and Copland’s beloved “Appalachian Spring Suite,” featuring dancers from the Ballet Guild of the Lehigh Valley. Allentown-area audiences might be excused for thinking that Simon Mulligan is a jazz pianist. He’s established a popular following in that genre through his frequent appearances with his trio in the Jazz Upstairs series in Symphony Hall’s Rodale Room, backed by local musicians — bassist Gene Perla and drummer Dave Willard. But Mulligan is a lot more than that. Classical fans might recall his first concert in Allentown was in fact a classical one — Mozart’s Piano Concerto No. 21, with the Allentown Symphony Orchestra on Valentine’s Day weekend in 2012. The Ballet Guild of the Lehigh Valley will perform artistic director Karen Knerr's new choreography to Aaron Copland's 'Appalachian Spring' on stage with the Allentown Symphony Orchestra.
    [Show full text]
  • George Gershwin Alone May 30 – June 10, 2012
    FOR IMMEDIATE RELEASE Contact: Joyce Linehan for ArtsEmerson, 617-282-2510, [email protected] ArtsEmerson: The World On Stage PRESENTS HERSHEY FELDER AS GEORGE GERSHWIN ALONE MAY 30 – JUNE 10, 2012 High resolution photos available on request Press opening is Wednesday, May 30 at 7 p.m. Please respond to this email with requests. (BOSTON) ArtsEmerson: The World On Stage presents Hershey Felder’s George Gershwin Alone . Hot on the heels of the Boston premiere of his Maestro: Leonard Bernstein , Felder will reprise his one-man George Gershwin show. Performances will take place May 30 – June 10, 2012 at the Paramount Center (559 Washington Street, in Boston’s Theatre District). Tickets, from $25 – $89, go on sale to members on April 27 and to the public on April 28. They can be purchased at www.artsemerson.org or by phone at (617) 824-8400. Steinway concert artist, composer and actor Hershey Felder spent five years researching George Gershwin’s life and works. He spoke with family members, biographers and Gershwin intimates and secured the rights from the late composer’s estate to develop a solo performance. Felder used Gershwin’s personal correspondences, original manuscripts, and personal belongings to construct a one- man show in which he brings George Gershwin to life. Audiences will experience with the actor Gershwin’s childhood, parents and siblings, as well as his musical triumphs and defeats. Not only is Felder’s appearance strikingly similar to Gershwin’s, but Felder drew on old radio archives to recreate Gershwin’s voice. He also used songs, letters and conversations to recreate the life and times of the great American composer.
    [Show full text]
  • The Cinema of Gene Kelly
    THE MUSEUM OF MODERN ART No 100 11 WEST 53 STREET, NEW YORK 19, N. Y. FOR RELEASE: TELEPHONE: CIRCLE s-8900 Thursday, August 30, 19fe The Cinema of Gene Kelly, a series of ten films featuring the actor-dancer-writer- dlrector, will begin at the Museum of Modern Art September 2-5> daily at 3 and 5:30, with Singin1 in the Rain (1952), with Donald O'Connor and Debbie Reynolds. The series will continue September 6-8 with For Me and My Gal (l$k2), with Judy Garland and George Murphy; September 9-12, Cover Girl (19MO with Rita Hayworth, Lee Bowman and Phil Silvers; September 13-15, On the Town (19U9) with Frank Sinatra, Betty Garrett and Jules Munshin; September 16-19, An American in Paris (l95l) with Leslie Caron, Oscar Levant and Nina Foch (3:00 only on September 18); September 20-22, It's Always Fair Weather (1955) with Dan Dailey, Cyd Charisse and Dolores Gray; September 23-26, Invitation to the Dance (1956) with Igor Youskevitch and Tamara Toumanova; September 27-29, Les Girls (1957) with Mitzi Gaynor and Kay Kendall; September 30-0ctober 3, Singin1 in the Rain, repeat; and October k-6, Anchors Aweigh (19^5) with Frank Sinatra. In a monograph published in connection with the series,* Richard Griffith, Cu­ rator of the Museum's Film Library, says that "Kelly, as soon as he had established himself in the movies, worked toward becoming the choreographer and director as well as the stellar actor-dancer of his films. In the planning of his movies, he seemed to work alternately toward two complementary goals: to build the dances into the structure of the film as its central, expressive essence; or, to use dances to change the mood entirely, in counterpoint to the rest of the picture, as if a second self were emerging." *The Cinema of Gene Kellv.
    [Show full text]
  • “Very Little Wrist Movement”: Rock Hudson Acts out Sexual Heterodoxy
    “Very Little Wrist Movement”: Rock Hudson Acts Out Sexual Heterodoxy Tamar Jeffers McDonald Oxford Brookes University Abstract: Hollywood films of the late 1950s obsessed over the idea of virginity, seeking to render it externally through acting style. Generally virginities thus spectacularized are female: male virginity belongs to the man’s past. When found, therefore, the male virgin is inevitably established as both a comic figure and a fake. Rock Hudson performances remove such assurances, however: in Pillow Talk he plays a womanizer and a potential virgin. Hudson usually offers a performance dichotomy, with the heterodox sexualities evoked by movement, the traditional male calm and still: Man’s Favorite Sport? (1964), however, reverses this trope and makes the calm, experienced, persona the fake. Résumé : Les films vers la fin des années 50 étaient obsédés par l’idée de la vir- ginité, cherchant à l’exprimer extérieurement, à travers un style de jeu particuli- er. Généralement, ces vierges étaient représentés par des femmes : la virginité masculine appartenant au passé d’un homme. L’homme vierge est inévitable- ment représenté comme un caractère comique et faux. Les performances de Rock Hudson éliminent ces assurances, par contre: dans Pillow Talk il joue le rôle d’un joueur qui a le potentiel d’être vierge. Hudson nous offre une dichotomie de per- formance : les sexualitiés hétérodoxes sont évoqués par mouvement ; le mas- culinité traditionnelle est calme, immobile. Mais Man’s Favorite Sport? (1964) renverse ce trope et fait l’homme calme, expérimenté, l’article truqué. Keywords: Media/Mass media; Feminist/Gender; History Introduction Oscar Levant enjoyed claiming he had been around Hollywood so long, he “knew Doris Day before she became a virgin” (1965, p.
    [Show full text]
  • The Concerts at Lewisohn Stadium, 1922-1964
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 Music for the (American) People: The Concerts at Lewisohn Stadium, 1922-1964 Jonathan Stern 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/2239 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] MUSIC FOR THE (AMERICAN) PEOPLE: THE CONCERTS AT LEWISOHN STADIUM, 1922-1964 by JONATHAN STERN VOLUME I A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2009 ©2009 JONATHAN STERN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy. Professor Ora Frishberg Saloman Date Chair of Examining Committee Professor David Olan Date Executive Officer Professor Stephen Blum Professor John Graziano Professor Bruce Saylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC FOR THE (AMERICAN) PEOPLE: THE LEWISOHN STADIUM CONCERTS, 1922-1964 by Jonathan Stern Adviser: Professor John Graziano Not long after construction began for an athletic field at City College of New York, school officials conceived the idea of that same field serving as an outdoor concert hall during the summer months. The result, Lewisohn Stadium, named after its principal benefactor, Adolph Lewisohn, and modeled much along the lines of an ancient Roman coliseum, became that and much more.
    [Show full text]
  • Philosophy Documentation Center. 004.16 In2 Ince, D
    Documentation Res philosophica. Charlottesville, VA : Philosophy Documentation Center. 004.16 In2 Ince, D. (Darrel). The computer : a very short introduction / Darrel Ince. Oxford : Oxford University Press, 2011. 005.1 B728 Bradley, Aaron R. Programming for engineers : a foundational approach to learning C and Matlab / by Aaron R. Bradley. Berlin ; Springer 2011. 005.1 R235 Reas, Casey. Form+code in design, art, and architecture / Casey Reas, Chandler McWilliams, LUST. New York : Princeton Architectural Press, c2010. 150.1952 B935 After Freud left : a century of psychoanalysis in America / edited by John Burnham. 150.9 B4382 Benjafield, John G. Psychology : a concise history / John G. Benjafield. Oxford : Oxford University Press, 2012. 150.922 P587 Portraits of pioneers in developmental psychology / editors, Wade E. Pickren, Donald A. Dewsbury, Michael Wertheimer. New York, NY : Psychology Press, 2012. 152.14 Ad19 The science of social vision / edited by Reginald B. Adams, Jr. ... [et al.]. New York : Oxford University Press, 2011. 153.4 C912 Cummins, Denise D. Good thinking : seven powerful ideas that influence the way we think / Denise D. Cummins. Cambridge : Cambridge University Press, 2012. 153.42 F772 Forshaw, Mark. Critical thinking for psychology : a student guide / Mark Forshaw. Hoboken : Wiley-Blackwell, 2012. 153.9 G173fa Gardner, Howard, 1943- Five minds for the future / Howard Gardner. Boston, Mass. : Harvard Business School Press, c2008. 155.24 H223 Harford, Tim, 1973- Adapt : why success always starts with failure / Tim Harford. New York : Farrar, Straus and Giroux, 2011. 155.3 G694 Goss, Phil, 1961- Men, women, and relationships, a post-Jungian approach : gender electrics and magic beans / Phil Goss.
    [Show full text]
  • Objectivity Lies: the Rhetoric of Anthropology,” in the Rhetoric of the Human Sciences: Language and Argument in Scholarship and Public Affairs, Eds
    ABSTRACT HUMANITIES JONAS-FOWLER, JOYCELYN J. B.A. CLARK ATLANTA UNIVERSITY, 1996 M.P.A. TROY STATE UNIVERSITY, 2005 IS THIS BLACK ENOUGH FOR YOU? A COMPARATIVE ANALYSIS OF AFRICAN-AMERICAN FAMILIES PORTRAYED IN BLACK FAMILY TELEVISION COMEDIES BETWEEN 1980 AND 2000 Committee Chair: Charmayne Patterson, Ph.D. Dissertation dated May 2018 Research shows that black people watch more television than any other race of people, and, given that television is the most influential media tool, the content of what may affect an audience’s behavior and beliefs deserves analysis. This study examines the black family, alleged pathology, strengths that are specifically associated with them, its portrayal on television, and how television is used as a tool for socialization and influence. A content analysis of the top thirty black family shows that appeared on major network television between 1980 and 2000 was conducted to determine if the family framed was portrayed realistically. Each show analyzed was found to portray some characteristic of strong black families, attributes some media and social critics had not previously recognized or acknowledged. This study suggests that further research is warranted from black family, cultural, and media scholars, as well as social policy and i program makers, and on how television influences entire cultures to shift socially and economically. ii IS THIS BLACK ENOUGH FOR YOU? A COMPARATIVE ANALYSIS OF AFRICAN-AMERICAN FAMILIES PORTRAYED IN BLACK FAMILY TELEVISION COMEDIES BETWEEN 1980 AND 2000 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY BY JOYCELYN JONAS-FOWLER DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA MAY 2018 © 2018 JOYCELYN JONAS-FOWLER All Rights Reserved ACKNOWLEDGMENTS I thank God for his favor and blessings and for being a God of thousands of chances.
    [Show full text]
  • Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star
    Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2020 Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star Caleb Taylor Boyd Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Film and Media Studies Commons, Music Commons, and the Sociology Commons Recommended Citation Boyd, Caleb Taylor, "Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star" (2020). Arts & Sciences Electronic Theses and Dissertations. 2169. https://openscholarship.wustl.edu/art_sci_etds/2169 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Todd Decker, Chair Ben Duane Howard Pollack Alexander Stefaniak Gaylyn Studlar Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star by Caleb T. Boyd A dissertation presented to The Graduate School of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2020 St. Louis, Missouri © 2020, Caleb T. Boyd Table of Contents List of Figures ................................................................................................................................
    [Show full text]