DOCSLIB.ORG

Volume 39, Number 05 (May 1921) James Francis Cooke

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 5-1-1921 Volume 39, Number 05 (May 1921) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 39, Number 05 (May 1921)." , (1921). https://digitalcommons.gardner-webb.edu/etude/679 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. [the etude Presser’s Musical Magazine PRICE 25 CENTS MAY 1921 $ 2.00 A YEAR EMINENT AMERICANS ON MORALS AND MUSIC Hon. William Jennings Bryan David Bispham Roger Babson Hon. Arthur Capper Rupert Hughes Walter Damrosch George Eastman Thomas Edison Hon. Henry VanDyke Lt. Comm. John Philip Sousa \ “The Most Difficult Thing in Piano Playing” By Ignaz Friedman Splendid Music Section in this Issue jimouvs meat mon ' / Cfjane et mon ploun hnkqperprenmnt m\CCe / TEE ETUDE MAY 1921 Page 291 The Best and Most Used Collections and Studies for Piano, Voice, Violin and Organ Suggestions for the Teacher—Recreation Material for the Student—Albums and Works for the Music Lover PIANO TECHNICS AND STUDIES PRIMERS—RUDIMENTARY WORKS L LANDON, C. W. Writing ook for Music Pupils, ....lie Preludes and Fugues $ “ Inventions for the Piano Ill, The t i; Part IV, tsily understood pre- “ First Study of Bach (LeefsonL “ Well Tempered Clavichord, Vol. I The School of Octave BECKER, GUSTAVE L. Exercises for Developing One of the most remarkable works in the BURROWES’ PIANOFORTE PRIMER (PAPER). Accuracy in Piano Playing entire range of pianoforte pedagogy hy^an CLARKE, H. A. Theory Explained tr BERTINI, H. 25 Studies for Pianoforte, Op. 29 " 25 Studies for Pianoforte, Op. 100. SfaU American pianists and teachers. BIEHL, A. Elements of Piano Playing, Op. 30 . MATHEWS, W. S. B. First Lessons in Phrasing. 1 MORRIS, M. S. Writing Primer ... BILBRO, MATHILDE. General Study Book. “ Studies in Phrasing, Book 1. 1 CUMMINGS, W. H. Rudiment ^ No previous knowledge ofn“u®}c by “ Melodies in Difficult Keys. “ Studies in Phrasing, Book II. 1 questions for examination “ 25 Melodies for Eye, Ear and Hand Training “ STANDARD GRADED COURSE OF STUD¬ EVANS, M. G. Primer of Fact, IES. 10 volumes, 10 grades, each. 1 SUTOR? ADH.E? IvmeTpelling Book........... BLOSE, JOH. M. Pedal Book This is one of the most successful devices BUGBEE, L. A. First Grade Studies. Easy, This is the original, and in spite of dozens original, melodious study pieces. of imitators, still the one universally used course of piano study, combining and suggest¬ FOUR-OCTAVE KEYBOARD CHART (Cloth).. tapper!1 THOS? “ Children's Biographies of ing everything essential for acquiring a perfect Bach, Mozart, Schubert, Schumann, Han¬ knowledge of, as well as finished skill in,piano JOUSSE’S MUSICAL CATECHISM (PAPER) del, Chopin, Liszt, Beethoven, Mendels¬ sohn, Haydn, Verdi and Wagner. Each. BURGMULLER, F. 25 Studies, Op 10 playing. KILLOUGH, G. C. Gibbon’s Catechism of Music « 12 Brilliant and Melodious Studiel MORRISON, R. S. Second Grade Study. 10 499 Questions and Answers^ Noj-atiou, “ 18 Etudes de Genre, Characterit embellishments- etc. Op. 109 LANDON. C. W. CHORDS AND ARPEGGIOS (Orem).. Writing Bool for Music Pupils, Book I. CLEMENTI, M. Gradus ad Parnatsuc CONCONE, J. Selected Studies PALOVERDE, M. Left Hand Facility ! ■’ Op. 25; 30; 31, each Easy study pieces. PIANO INSTRUCTORS COOKE, J.F. Mastering the Scales. PARLOW. E. First and Second Grade Study Pieces 7 u Enables the teacher to^ start scale study PERRY, E.B. Lyric Studies \ KOHLER, LOUIS. Practical Piano Method, Op. “ Wrist Studies. 1 ABBOTT, Mrs. A. T. A Method for Gaining a 249. Vols. I, II and III, each. $1 highest degree1 oP proficiency with advanced Perfect Knowledge of the Notes $0 LANDON, C. W. Foundation Materials for Piano. I students. Practice material-hilly written out. PHILIPP, I. Exercises in Extension. Unique BATCHELLOR-LANDON. Musical Kindergarten Many original features found in no other work. studies. Strengthen and stretch the hand . Method.., 2 “ Op. 60. Finger Gymnastics ... 1 For the nursery and classroom. This work CRAMER, J. B. Fifty Selected Studies. ” Preparatory School of Technic. Daily practice CZERNY, C. One Hundred Studies, Op. 139 in technical essentials. 1 NORCROSS, C. I. Adult Beginner’s Book “ 100 Easy and Progressive Lessons. ” School of Technic. An exhaustive compen- . BEGINNER’S METHOD. Theo. Presses 1 “ 101 Short Exercises in Passage Playing. Op. Intended for the youngest beginners and SCHMOLL, a! S New Piano Method. In Two perfectly adapted to their needs and insuring • School ..I Vel. <1,. 299 “ The New Gradus ad Parnassum, in eight not only pleasant but^rapid^ progress. Phe- " School of Velocity. Op. 299. 4 books, each books: “ 6 Octave Studies, Op. 553 Book I, Left Hand Technic; Book II, Right School of the “ First Pianoforte Instructor, Op. 599. Hand Technic; Book III, Hands Together; BEYEr! F. PElementary School of Piano Playing Preliminary School of Dexterity, Op. 636. Book IV, Arpeggios; Book V, Double Notes; FIRST STEPS IN PIANO STUDY ..... ...... Book VI, Octaves and Chords; Book VU, ’’ Op. 740, 6 * The Trill; Book VIII, Various Difficulties; wABCol Piano Musi. andZar“ranged°ln pTacrical and progressive order by an expert in piano teaching. successful and most widely used works are DORING, C. H. School of Octave Playing. Op. 24 named above. ! PIANO COLLECTIONS—FOUR HANDS DUVERNOY, J. B. Ecole do Mecanisme, Op. 120 PISCHNA. Sixty Progressive Exercises. “ Ecole Primaire, Op. 176. PLAIDY, L. Technical Exercises. GREENWALD.M. 20 Progressive Studies. Grade2 1 SARTORIO, A. Instructive Four Hand Album. $ PRESSER, THEO. First Studies in Octave Playing BASCHINSKY, P. One Year in tl CURLITT, C. Easiest Velocity Studies. Op. 83. “ Selected Octave Studies. Equal develop¬ 12 little piece" “ Pleasant Hours, Eight Instructive Four Hand “ First Lessons. Op. 117. Pieces, Op. 1042. “ 35 Etudes Faciles. Op. 130 ment of both hands, flexibility and strength. I CHILDHOOD DAYS (Harthan). “ Recollections of Youth. Op. 1064 “ School of Velocity. Op. 141. RANSOM, E. Through the Major Keys for Teacher and Pupil . SPAULDING, G. L. You and 1. HABERBIER, E. Etudes Poesies, Op. 53, 59 .... ROGERS, J. H. Octave Velocity. Short, interest- CONCERT DUETS. HANON, C L. Virtuoso Pianist, Complete. a, 150 ps HEINZE.L. G. The Piano Beginner “ The Progressing Piano Player. RTORIO, A. 12 Instructive Pieces in Melody i HELLER. STEPHEN. Thirty Selected Studies. Playing and Expression, Op. 368 ENGELMANN FOUR HAND ALBUM ' 10 Melodious Studies in Velocity, Op. 380. FOUR-HAND EXHIBITION PIECES FOUR HAND MISCELLANY. “ 25 Melodious Studies, Op. 4S ‘ Melody and Velocity, Op. 81 FOUR HAND PARLOR PIECES. “ 30 Progressive Studies, Op. 4< incing Players, GAENSCHALS, C. Home Pleasures. “ 25 Studies, Op. 47 Op. 876. .. HERZ.H. Scales and Exercises... Twelve Melo in Embellishment, JUVENILe'dUEt'pLAYERs"..'. Op. 902. .. JONAS, ALBERTO. The Pianosc __ Studies, Op. 1044 .. i MARCH ALBUM. MOSZKOWSKl, M. Soanish Dances “ Finger Freedom Studies, Op. 1069. MUSIC LOVERS’ DUET BOOK. “ Studies in Syncopation, Op. 1079. OPERATIC FOUR HAND ALBUM. 22 Duet Studies for Left Hand Alone, Op. 1103. SCALES AND CADENCES (Presser). SCHMITT, A. Preparatory Exercises, Op. 16a VIOLIN MATERIAL third grade t augh al SCHMOLL, A. Studies and Study Pieces, 3 i keys with suitame stumes a..u » AIQOUNl, K. H. Practical Method for the Yc KOHLER, L. First Studies. Op. 50. i •' 12 Little Studies, Op. 157 Violinist .. •' 12 Preparatory Lessons, Op. BENJAMIN, FRANK T. Comprehensive Vi LIEURANCE. THURLOW. Indian Melodies.. 190... Method.. • • • PLF.YEL, I J. Petit Duos for Two Violins, Op. “ Very Easiest Exercises, Op. To d BLUMENSTENGEL, A. Scale and Arpe SCHRADIECK. H. Scale Studies “ Small School of Velocity, Op. d style Studies, Vol. I . ••••• ' T clinical S udies. Vol. I KROEGER, E. IL 15 Etudes for SCHULZ, F. A. Scales and Chords. DANCLA, CH. Six Petits Airs Varies Op. 8S SEVCIK, O. School of Bowing, Op. 2, Vol. 1 DE BERIOT, C. Method for Violin Vol. I . STANDARD VIOLINIST, 32 pieces. KUNZ, cK. M. ^Twm Hundred SCHWALM, R. Daily Exercises FAVORITE OLD TIME TUNES. Vio.in and P STUDENT'S POPULAR ALBUM. 22 Favor i SMITH, WILSON G. Etudes Arabesques FRANKLIN, F. A. Operatic Selections LACK, THEO.’Op. 289. L’Art d SPAULDING, G. L. Eludes Melodiques.. “ Selected Classics.„ . TOURS, B. Complete Instructor for Violin For students just beginning third HOFMANN, R. First Studies in First Post VIOLINIST'S POPULAR REPERTOIRE.29 piece! LANDON, C. W. Playing Two Notes Against Three WATSON, MABEL M. Bel Canto Method for Viol “ Wrist Studies. ion cnwrrRI .. HOHMANN,’c°H. c^‘"e*ch°°1, ' Positively the most elementary methc LESCHETIZKY METHOD. The Modern Pianist. ,w Standard Graded Course. " Sarneln^Books’ealh11’C0I,,P ...... (Prentner) . KAYSER, H. E. Elementary and Progre, LOESCHHORN. A. Selected Studies, two vols. Studies, Op. 20. 3 Books, each LEVENSON, C. 50 Selected Studies in the 1 Position special rhythmical device. STREABBOG, L. Twelve Melodic Studies, Op. 63 Twelve Easy and Melodious Studies, Op. 64. VOGT, J. 24 Octave Studies, Op. 145. Theodore Presser Co. teOn Sale** Plan WIECK.F. Piano Studies. guarantees satisfaction. Any Presser publication will be sent for ey upon request. You may specify special items that you would A selected graded list of pieces in sheet needs and let us send you a package of material to select from. You g pay only for what you use and return the remainder The same large dis- Qjj count allowed ass though the music was purchased outright.
Recommended publications
  • The Art of Making Mistakes

    The Art of Making Mistakes

    The Art of Making Mistakes Misha Alperin Edited by Inna Novosad-Maehlum Music is a creation of the Universe Just like a human being, it reflects God. Real music can be recognized by its soul -- again, like a person. At first sight, music sounds like a language, with its own grammatical and stylistic shades. However, beneath the surface, music is neither style nor grammar. There is a mystery hidden in music -- a mystery that is not immediately obvious. Its mystery and unpredictability are what I am seeking. Misha Alperin Contents Preface (by Inna Novosad-Maehlum) Introduction Nothing but Improvising Levels of Art Sound Sensitivity Fairytales and Fantasy Music vs Mystery Influential Masters The Paradox: an Improvisation on the 100th Birthday of the genius Richter Keith Jarrett Some thoughts on Garbarek (with the backdrop of jazz) The Master on the Pedagogy of Jazz Improvisation as a Way to Oneself Main Principles of Misha's Teachings through the Eyes of His Students Words from the Teacher to his Students Questions & Answers Creativity: an Interview (with Inna Novosad-Maehlum) About Infant-Prodigies: an Interview (with Marina?) One can Become Music: an Interview (with Carina Prange) Biography (by Inna Novosad-Maehlum) Upbringing The musician’s search Alperin and Composing Artists vs. Critics Current Years Reflections on the Meaning of Life Our Search for Answers An Explanation About Formality Golden Scorpion Ego Discography Conclusion: The Creative Process (by Inna Novosad-Maehlum) Preface According to Misha Alperin, human life demands both contemplation and active involvement. In this book, the artist addresses the issues of human identity and belonging, as well as those of the relationship between music and musician.
  • Music & Film Memorabilia

    Music & Film Memorabilia

    MUSIC & FILM MEMORABILIA Friday 11th September at 4pm On View Thursday 10th September 10am-7pm and from 9am on the morning of the sale Catalogue web site: WWW.LSK.CO.Uk Results available online approximately one hour following the sale Buyer’s Premium charged on all lots at 20% plus VAT Live bidding available through our website (3% plus VAT surcharge applies) Your contact at the saleroom is: Glenn Pearl [email protected] 01284 748 625 Image this page: 673 Chartered Surveyors Glenn Pearl – Music & Film Memorabilia specialist 01284 748 625 Land & Estate Agents Tel: Email: [email protected] 150 YEARS est. 1869 Auctioneers & Valuers www.lsk.co.uk C The first 91 lots of the auction are from the 506 collection of Jonathan Ruffle, a British Del Amitri, a presentation gold disc for the album writer, director and producer, who has Waking Hours, with photograph of the band and made TV and radio programmes for the plaque below “Presented to Jonathan Ruffle to BBC, ITV, and Channel 4. During his time as recognise sales in the United Kingdom of more a producer of the Radio 1 show from the than 100,000 copies of the A & M album mid-1980s-90s he collected the majority of “Waking Hours” 1990”, framed and glazed, 52 x 42cm. the lots on offer here. These include rare £50-80 vinyl, acetates, and Factory Records promotional items. The majority of the 507 vinyl lots being offered for sale in Mint or Aerosmith, a presentation CD for the album Get Near-Mint condition – with some having a Grip with plaque below “Presented to Jonathan never been played.
  • High-Fidelity-1955-Nov.Pdf

    High-Fidelity-1955-Nov.Pdf

    November 60 cents SIBELIUS AT 90 by Gerald Abraham A SIBELIUS DISCOGRAPHY by Paul Affelder www.americanradiohistory.com FOR FINE SOUND ALL AROUND Bob Fine, of gt/JZe lwtCL ., has standardized on C. Robert Fine, President, and Al Mian, Chief Mixer, at master con- trol console of Fine Sound, Inc., 711 Fifth Ave., New York City. because "No other sound recording the finest magnetic recording tape media hare been found to meet our exact - you can buy - known the world over for its outstanding performance ing'requirements for consistent, uniform and fidelity of reproduction. Now avail- quality." able on 1/2-mil, 1 -mil and 11/2-mil polyester film base, as well as standard plastic base. In professional circles Bob Fine is a name to reckon auaaaa:.cs 'exceed the most with. His studio, one of the country's largest and exacting requirements for highest quality professional recordings. Available in sizes best equipped, cuts the masters for over half the and types for every disc recording applica- records released each year by independent record lion. manufacturers. Movies distributed throughout the magnetically coated world, filmed TV broadcasts, transcribed radio on standard motion picture film base, broadcasts, and advertising transcriptions are re- provides highest quality synchronized re- corded here at Fine Sound, Inc., on Audio products. cordings for motion picture and TV sound tracks. Every inch of tape used here is Audiotape. Every disc cut is an Audiodisc. And now, Fine Sound is To get the most out of your sound recordings, now standardizing on Audiofilm. That's proof of the and as long as you keep them, be sure to put them consistent, uniform quality of all Audio products: on Audiotape, Audiodiscs or Audiofilm.
  • The American College Man in Music

    The American College Man in Music

    THE AMERICAN COLLEGE MAN IN MUSIC By W. J. BALTZELL Downloaded from N the spring of 1914 an incident occurred which has great significance for music in the United States in that it shows, very I definitely, the change in the attitude toward Music which has come about in educational institutions, and therefore reflects a similar change in the attitude toward Music and musical activities http://mq.oxfordjournals.org/ on the part of many persons who shape their opinions upon the stand taken by institutions of high prominence and those who conduct them. David Bispham, then on a concert tour, and singing in vaudeville, received a letter from the President of his Alma Mater, Haverford College, stating that the Board of Managers had decided to confer upon him the honorary degree of Doctor of Laws. Mr. Bispham's surprise was great, perhaps even greater at University of Lethbridge on September 12, 2015 than that of musicians who read later the announcement that the degree had been conferred. Had it ever occurred in these United States that a man prominent in the profession of music as an executive artist should be honored thus for distinguished services to Art? To quote from Mr. Bispham's address on The Ministry qj Music, delivered on the occasion of the conferring of the degree, will give an idea of the significance which Mr. Bispham attached to the letter: To say that I was surprised does not convey in any adequate - manner an idea of the state of my feelings. That I. ... a grand opera singer, a concert singer, and a vaudeville artist, I, whose life had been so unusual in regard to its public activities, should find myself being honored by my former companions and by the friends of my parents, by being made a Doctor of Laws by the college which, of almost all those in America, has upheld religion and scholarship at the expense of music, was astounding.
  • 4 Classical Music's Coarse Caress

    4 Classical Music's Coarse Caress

    The End of Early Music This page intentionally left blank The End of Early Music A Period Performer’s History of Music for the Twenty-First Century Bruce Haynes 1 2007 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2007 by Bruce Haynes Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Haynes, Bruce, 1942– The end of early music: a period performer’s history of music for the 21st century / Bruce Haynes. p. cm. Includes bibliographical references and index. ISBN 978-0-19-518987-2 1. Performance practice (Music)—History. 2. Music—Interpretation (Phrasing, dynamics, etc.)—Philosophy and aesthetics. I. Title. ML457.H38 2007 781.4′309—dc22 2006023594 135798642 Printed in the United States of America on acid-free paper This book is dedicated to Erato, muse of lyric and love poetry, Euterpe, muse of music, and Joni M., Honored and Honorary Doctor of broken-hearted harmony, whom I humbly invite to be its patronesses We’re captive on the carousel of time, We can’t return, we can only look behind from where we came.
  • Page | 1 Funding for the Smithsonian Jazz Oral History Program NEA

    Page | 1 Funding for the Smithsonian Jazz Oral History Program NEA

    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. WAYNE SHORTER NEA Jazz Master (1998) Interviewee: Wayne Shorter (August 25, 1933-) Interviewer: Larry Appelbaum and audio engineer Ken Kimery Dates: September 24, 2012 Depository: Archives Center, National Music of American History, Smithsonian Institution. Description: Transcript. 26 pp. Shorter: ...his first three months’ royalty on “Sunny”... It was something... He didn’t have to play the bass. He said, “I’m not playing the bass...” He played in this club, at a restaurant... They’d shot a long scene in there, and did the...well, the thing that was...the Billy Strayhorn thing...you know, that Duke Ellington recorded... “Something in Paris.” [SINGS REFRAIN] Appelbaum: From An American In Paris? Shorter: [CONTINUES TO SING REFRAIN] That song that a lot of singers find hard to sing. Appelbaum: “Lush Life.” Shorter: “Lush Life.” There was some stuff in there. And Shawna(?—0:54) was playing the piano... She was between takes and everything. She was playing...she’s... Appelbaum: She can play. Shorter: Yeah. And tap dancing and all that. But she was like sand-dancing, and waiting for things and all that. I said, “Hey, why don’t you put her in...” Appelbaum: Did Ben Tucker co-write “I’m Comin’ Home, Baby”? Shorter: Ok. He wrote it. For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 Appelbaum: Oh, yeah? Shorter: Do you remember the mechanicals, “Notice Of Use” thing... There was something about that.
  • How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College

    How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College

    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kane, Julie Ellen, "How the Villanelle's Form Got Fixed." (1999). LSU Historical Dissertations and Theses. 6892. https://digitalcommons.lsu.edu/gradschool_disstheses/6892 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 manuscript has been rqxroduced from the microfilm master. UMI films the text directfy firom the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiice, vdiile others may be from any typ e o f com pater printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, b^innm g at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
  • Vol. 13, No.2 July 2003

    Vol. 13, No.2 July 2003

    Chantant • Reminiscences • Harmony Music • Promenades • Evesham Andante • Rosemary (That's for Remembrance) • Pastourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Ga Salut d'Amour • Mot d'AmourElgar • Bizarrerie Society • O Happy Eyes • My Dwelt in a Northern Land • Froissart • Spanish Serenade • La Capricieuse • Serenade • The Black Knight • Sursum Corda • T Snow • Fly, Singing Birdournal • From the Bavarian Highlands • The of Life • King Olaf • Imperial March • The Banner of St George Deum and Benedictus • Caractacus • Variations on an Origina Theme (Enigma) • Sea Pictures • Chanson de Nuit • Chanson Matin • Three Characteristic Pieces • The Dream of Gerontius Serenade Lyrique • Pomp and Circumstance • Cockaigne (In London Town) • Concert Allegro • Grania and Diarmid • May S Dream Children • Coronation Ode • Weary Wind of the West • • Offertoire • The Apostles • In The South (Alassio) • Introduct and Allegro • Evening Scene • In Smyrna • The Kingdom • Wan Youth • How Calmly the Evening • Pleading • Go, Song of Mine Elegy • Violin Concerto in B minor • Romance • Symphony No Hearken Thou • Coronation March • Crown of India • Great is t Lord • Cantique • The Music Makers • Falstaff • Carissima • So The Birthright • The Windlass • Death on the Hills • Give Unto Lord • Carillon • Polonia • Une Voix dans le Desert • The Starlig Express • Le Drapeau Belge • The Spirit of England • The Fring the Fleet • The Sanguine Fan • ViolinJULY Sonata 2003 Vol.13, in E minor No.2 • Strin Quartet in E minor • Piano Quintet in A minor • Cello Concerto
  • Downbeat.Com December 2020 U.K. £6.99

    Downbeat.Com December 2020 U.K. £6.99

    DECEMBER 2020 U.K. £6.99 DOWNBEAT.COM DECEMBER 2020 VOLUME 87 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
  • Table of Contents

    Table of Contents

    1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis­ A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas.
  • February 1920) James Francis Cooke

    February 1920) James Francis Cooke

    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 2-1-1920 Volume 38, Number 02 (February 1920) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 38, Number 02 (February 1920)." , (1920). https://digitalcommons.gardner-webb.edu/etude/665 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDj\ THE ETUit . * ■ H Page Dewied j~~zz .z... VERDI-CHILD’S OWN BOOK Subscription Price, $2.00 per year in United PRESSER’S MUSICAL MAGAZINE RENEWAL.—No receipt is sent for renewals. On OLD RHYMES WITH NEW TUNES States, Alaska, Cuba, Porto Rico, Mexico, Hawaii, the wrapper of the next issue sent you will be OF GREAT MUSICANS Philippines, Panama, Guam, Tutuila, and the City printed the date on which your subscription is paid of Shanghai. In Canada, $2 25 per year. In England up, which serves as a receipt for your subscription. to the most ByThe Geo. six F.easy.p.anoforte Hamer compositionsPrlCe ^.n6 thisjittlefhifli!tk Price, 20 cents and Colonies, 11 Shillings-2di in France, 14 Francs) The latest of a series written by Thomas Tapper when remitted by International Postal money order, volume comprise the best set.
  • Real-Time Encoding of Motion: Answerable Questions and Questionable Answers from the Fly’S Visual System

    Real-Time Encoding of Motion: Answerable Questions and Questionable Answers from the Fly’S Visual System

    From: Motion Vision - Computational, Neural, and Ecological Constraints Edited by Johannes M. Zanker and Jochen Zeil Springer Verlag, Berlin Heidelberg New York, 2001 Real-Time Encoding of Motion: Answerable Questions and Questionable Answers from the Fly’s Visual System Rob de Ruyter van Steveninck1, Alexander Borst2 and William Bialek1 1NEC Research Institute, Princeton, USA; 2ESPM-Division of Insect Biology, University of California at Berkeley, Berkeley, USA 1. Introduction Much of what we know about the neural processing of sensory information has been learned by studying the responses of single neurones to rather simplified stimuli. The ethologists, however, have argued that we can reveal the full richness of the nervous system only when we study the way in which the brain deals with the more complex stimuli that occur in nature. On the other hand it is possible that the processing of natural signals is decomposable into steps that can be understood from the analysis of simpler signals. But even then, to prove that this is the case one must do the experiment and use complex natural stimuli. In the past decade there has been renewed interest in moving beyond the simple sensory inputs that have been the workhorse of neurophysiology, and a key step in this program has been the development of more powerful tools for the analysis of neural responses to complex dynamic inputs. The motion sensitive neurones of the fly visual sys- tem have been an important testing ground for these ideas, and there have been several key results from this work: 1. The sequence of spikes from a motion sensitive neurone can be decoded to recover a continuous estimate of the dynamic velocity trajectory (Bialek et al.