DOCSLIB.ORG

B!.^:^ Been Tlen?!F Asi Bravo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

November 1 9 1965 NEWSLETTER MO. 4 THE CATCHUP ACOUSTICAL SOCIETY As announced in the last issue,, a concert was «ivan at thn vw vm« in New York City on.. May 20,1965 at. whi* the S/vioJin "~" all eight members was presented toj public^ r,"*>"tfa^iD%««-_-, "Consort the The for True Violins",,— compose d^anf^^ed by The music gave each of the instruments a real, HenlHr^t their work-out, cSISL musical potential in various combinations of parts a^d fSfm^from solo, duo, and trio to a thick texture of the entiri oatet? B 00t f lhe"fffS? ne'w^^iSfeed^?!!.^:^ -" ° **«»"« %&£*£*£ Leopold Stokowski was in the large audience, and was del igbtS'd He told Louis Condax that he would never forget the sound of thf viola in The New York Times' Howard Klein quoted Maestro Stokowski ?s "We need to revise all. the orchestral instruments. The strings have needed this treatment for a long time. Now the woodwinds nS! -1 Z _LXi^ o motIL- In his review of May 21 „ 1.Q65,. Mr. Klein went on to say- "The produced wonderful and rumblings, the sonorities of. the Mgher viol fes re m high registers. The resonance of the c.foodTh p .food middle rln^e lis M lnst ent3 > whe paying their lowest notes, soundfd tiLT or¥?J£&nasal, so "there is workf to be done. But a the major step toward rwSvat'n* strings for the first time in 200 years has been tLen?!f aSi bravo^ msiola 8 who Vl^* «» new weref * instruments in their premiere concert __ Max Pollikoff Treble vjolin Lrnestine Briemeister Soprano violin Lllla Ealman — Mezzo violin lll^L^yf —- (vertical viola) Peter Rosenfeld TenorA"?.^?violinl^ Joseph Tekula Baritone violin David Walter Bass violin Stuart Sankey G ontrabass viol in Many members of the Catgut Acoustical Sooiaty, who shared m the have actually work of developing these instruments over the past sev-n years, were in the audience. Interested musicians came from far and near One violinist, Marie Bond Riggenbach, flew all the way m from her home Monte Vista,^Colorado,^especially for the concert. We have received a great deal of other publicity as up-to-date well . To brino- what was reported in the last Newsletter % (1) Carleen Hutchins spoke to the Acoustical Society of America at its June meeting in Washington, B.C. This included a presentation new family of the of eight instruments. These were judged of particular inter- est to this group because they represent the first time in history t*at a consistent theory of acoustics has been successfully applied to a whole family of musical instruments,, ha-^, 2 (2) Publication in the American String Teacher of* (a) "The Catgut Acoustical Society Involved in Improving Stringed Instruments", Spring 19.65, John Schelleng (bj "The New Violin Family", Spring 1965,, Carleen Hutchins (c) "Three Firsts for the New Violin Family", Summer 1965, o. Hutchins (d) "The Hazards of Weather on the Violin", Fall 1965,Robert Fryxell (3) The Princeton University Press has expressed interest in a publish- ing program which would include (a) the original writings of Savart with translations by Donald Fletcher (as discussed in Newsletter N0.2) (b) Frederick Saunders published papers, and (c) other research, papers in this field. In addition they are interested in a book on violin research which would encompass all of the efforts of our Society members. John Schelleng and Carleen Hutchins are already involved in a start on this project. (4) Heinrich Roth, of Scherl Roth in Cleveland,, has already arranged to have six vertical violas made from Maxwell Kimball's drawings in the Roth shops in Germany. These are to be finished except for plate tuning, which will be done by Carleen Hutchins. As this is being written, she has just received the first instrument from. Mr. Roth. With all of this expanding activity and publicity, it is clear that we, as the Catgut Acoustical Society, both individually and collectively, are making our mark on the musical world. This brings with it an increasing responsibility which 'requires added efforts on the part of all of us, both in time and in financial, resources. As one example, previous Newsletters have been published in quantities of 150, nearly three times the number needed to satisfy our current membership; yet almost all copies have been sent out to others who have expressed interest and who are in a position to aid in furthering our objectives. The present issue will be published in a quantity of 250 in anticipation of the increasing number of interested musicians and scientists. Since we are "getting known",, your Executive Committee has drawn up the following "Requirements for Membership" with no intent to destroy our informal nature, but merely to codify what we believe is a reason- able minimum of regulations a sort of thing which any organization must have as it grows. This —statement, together with "Aims of the Catgut Acoustical Society" published in the last Newsletter, constitute our charter and is the information which will, be sent out to any who express interest in our activities. REQUIREMENTS FOR MEMBERSHIP To be eligible for membership in the Catgut Acoustical Society, a candidate must subscribe to the aims of the Society, as set forth in Newsletter N0.3, and express tangible interest therein. Suitable expression of such active interest may be either direct aid in carrying out musical and technical projects or a monetary contribution towards defraying expenses of printing, postage,, etc. Although both types of support are equally valued, and although there are no official dues,, it is hoped that members will find it possible to share in the latter way, if only modestly. Names will be removed from the membership list after three years of complete inactivity. This requirement goes into effect with this issue of the Newsletter and is not retroactive. Any member may sponsor a candidate for membership by sending name, address and qualifications to the Secretary: Carleen Hutchins, 112 Essex Avenue, Montclair, New Jersey. A list of proposed members will be y within six months of publication! ln good ate^i*S 8 he b< e ~ newsletterNewsletter are y1 «£^ ? T S li7t7d~"in the" last" b^« hereby elected to membership. They are- 11 Road Dr'Earll ?"£SJ» iVS"* New JerseyV «rpS^ , 00m Slkhart, Indiana 1 ll1 ?AMa i^" - nolia SrWT^!!" £ S Lane, Princeton, New "JerseyJersey , Dr. W. Lottermoser,' Braunschweig, Germany N V'Y riS/f^ 8011 111 Washingtol ' ' ' ' 2"WE laH^'^S aSL^*^Stitute of Cleveland, Ohio d Si?g? SS*? K&* $£» ont 2tS°i wM^ Sanitorium;London,Ont.- W a (in I le to'carl^Hutchins)^"! Sa krison t?ef SHd*' °°*oerts""-^in (State Washington last spring and on these *""" ° of) on the eacA of t^I ed a group of pieces viola*. I demonstrated ??»?+£»,c Conference at Educators National PortllSd in f^?i Mvl,o .^sic oom (Robert Whitcomb) hM written P^er-in-re Sidence and piano which { a'bXtif^ T* 1 01 n&^gS^^Tg^lay> falls m love with this v-ini^ t d iw ! P the audience* prod^e some. iS going to I oouid sell a hundred^? thefm Th ubll teaohers see at once the value nf * t P school music ?hs = ! 0 ment, and they would ° 11 instru" l^to have fplrt orcne stras. p q „„,„„! oS^raf AsL^"soon*as* violas are availahl t 8 t0 *Starti 8 the school « " 0US a West Coast olas s for public (inst^ttoS. A o e " 01 made by a ?" 7 R.Parramon of Barcelonaa rre-strung L 7=i i R^ (vertioal viola) ?g!£« "i" SMJS" ' Ced I T 6 fo lowin new S candidates are proposed for membership (ni} M i B rt 989 Memorial Drive, OxbridgecUUOXIa e MassJttass. On^^wContributedl^valuablef i?^»editorial assistance = » (2) Dr.Bernard 605 National Amateur. pickstein, Building, Flint I,ilChlsanMiahi«n' violinist and string instrument enthusiast Bassist,- helping to demonstrate the new instruments (4) Miss Mar jorie.Bram, 332 Vose Avenue, South Oran-e New Ter-^v Music", a group performing on a consort of viols V (5) and Mr. Mrs. Quincy Porter, Holderness, New Hampshire Composer, violinist, violist (6) Mr. David Schwartz, 26 Gurley Road, Stamford, Conn Violist, Yale School of Music 3 ■ 4 (7) ß P N Dyer II The L.C.L. C0rp., Park Interestedpr 230 Avenue, N.Y.C, !l°i ?in the new violin family; active in supporting following its progress. IIS andana (8) uthier Lodge", l46l. Rosecrans, Violinist,,Vi;i?S?3 violin San Diego 6, Cal. maker,, and president of Southeri Californiaoainornia Association of Violin Makers. TREASURERS REPORT: Balance reported in Newsletter N0.2 as of 9/20/64. $120.10 Four contributions 150.00 #2*70.10 Expenditures: Reprints, "Physics of the Violin" $20.00 Postage 25.00 Newsletter expenses 33! 00 Photographs for Newsletter lo.'oo Bank service charge, l2 months 8.60 YMHA Concert 5/20/65 82 6$ 179.22 Balance, 9/20/65 o "We are * 0 30 happy to record the anonymous gift of $100.00 from one ent v ia t:LO a*>°ut the advancement of of stringeda i^ £ ? S research in the family instruments. It is very likely that with the increatin- interest in the new instruments costs that will also increase # the requests for Newsletters far AlsS exceeds that of the memberb! Until' such a time as a grant will provide these costs, donations are sought from our earnestly members. There are no dues. May I urse that yyou contribute to this undisputedly worthy cause." * Sincerely, Virginia Apgar, Treasurer.
Recommended publications
  • The Baroque Cello and Its Performance Marc Vanscheeuwijck

    The Baroque Cello and Its Performance Marc Vanscheeuwijck

    Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f.
  • Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras

    Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras

    Texas Music Education Research, 2012 V. D. Baker Edited by Mary Ellen Cavitt, Texas State University—San Marcos Gender Association with Stringed Instruments: A Four-Decade Analysis of Texas All-State Orchestras Vicki D. Baker Texas Woman’s University The violin, viola, cello, and double bass have fluctuated in both their gender acceptability and association through the centuries. This can partially be attributed to the historical background of women’s involvement in music. Both church and society rigidly enforced rules regarding women’s participation in instrumental music performance during the Middle Ages and Renaissance. In the 1700s, Antonio Vivaldi established an all-female string orchestra and composed music for their performance. In the early 1800s, women were not allowed to perform in public and were severely limited in their musical training. Towards the end of the 19th century, it became more acceptable for women to study violin and cello, but they were forbidden to play in professional orchestras. Societal beliefs and conventions regarding the female body and allure were an additional obstacle to women as orchestral musicians, due to trepidation about their physiological strength and the view that some instruments were “unsightly for women to play, either because their presence interferes with men’s enjoyment of the female face or body, or because a playing position is judged to be indecorous” (Doubleday, 2008, p. 18). In Victorian England, female cellists were required to play in problematic “side-saddle” positions to prevent placing their instrument between opened legs (Cowling, 1983). The piano, harp, and guitar were deemed to be the only suitable feminine instruments in North America during the 19th Century in that they could be used to accompany ones singing and “required no facial exertions or body movements that interfered with the portrait of grace the lady musician was to emanate” (Tick, 1987, p.
  • The Science of String Instruments

    The Science of String Instruments

    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
  • Founding a Family of Fiddles

    Founding a Family of Fiddles

    The four members of the violin family have changed very little In hundreds of years. Recently, a group of musi- cians and scientists have constructed a "new" string family. 16 Founding a Family of Fiddles Carleen M. Hutchins An article from Physics Today, 1967. New measmement techniques combined with recent acoustics research enable us to make vioUn-type instruments in all frequency ranges with the properties built into the vioHn itself by the masters of three centuries ago. Thus for the first time we have a whole family of instruments made according to a consistent acoustical theory. Beyond a doubt they are musically successful by Carleen Maley Hutchins For three or folti centuries string stacles have stood in the way of practi- quartets as well as orchestras both cal accomplishment. That we can large and small, ha\e used violins, now routinely make fine violins in a violas, cellos and contrabasses of clas- variety of frequency ranges is the re- sical design. These wooden instru- siJt of a fortuitous combination: ments were brought to near perfec- violin acoustics research—showing a tion by violin makers of the 17th and resurgence after a lapse of 100 years— 18th centuries. Only recendy, though, and the new testing equipment capa- has testing equipment been good ble of responding to the sensitivities of enough to find out just how they work, wooden instruments. and only recently have scientific meth- As is shown in figure 1, oiu new in- ods of manufactiu-e been good enough struments are tuned in alternate inter- to produce consistently instruments vals of a musical fourth and fifth over with the qualities one wants to design the range of the piano keyboard.
  • 21St Century Consort Composer Performance List

    21St Century Consort Composer Performance List

    21st Century Consort Composer List 1975 - 2016 Archive of performance recordings Hans Abrahamsen Winternacht (1976-78) 1986-12-06 (15:27) flute, clarinet, trumpet, French horn, piano, violin, cello, conductor John Adams Road Movies 2012-05-05 (15:59) violin, piano Hallelujah Junction 2016-02-06 (17:25) piano, piano Shaker Loops (1978) 2000-04-15 (26:34) violin, violin, violin, viola, cello, cello, contrabass, conductor Bruce Adolphe Machaut is My Beginning (1989) 1996-03-16 (5:01) violin, cello, flute, clarinet, piano Miguel Del Agui Clocks 2011-11-05 (20:46) violin, piano, viola, violin, cello Stephen Albert To Wake the Dead (1978) 1993-02-13 (27:24) soprano, violin, conductor Tribute (1988) 1995-04-08 (10:27) violin, piano Treestone (1984) 1991-11-02 (38:15) soprano, tenor, violin, violin, viola, cello, bass, trumpet, clarinet, French horn, flute, percussion, piano, conductor Songs from the Stone Harp (1988) 1989-03-18 (11:56) tenor, harp, cello, percussion Treestone (1978) 1984-03-17 (30:22) soprano, tenor, flute, clarinet, trumpet, horn, harp, violin, violin, viola, cello, bass, piano, percussion, conductor Into Eclipse (1981) 1985-11-02 (31:46) tenor, violin, violin, viola, cello, contrabass, flute, clarinet, piano, percussion, trumpet, horn, conductor Distant Hills Coming Nigh: "Flower of the Mountain" 2016-04-30 (16:44) double bass, clarinet, piano, viola, conductor, French horn, violin, soprano, flute, violin, oboe, bassoon, cello Tribute (1988) 2002-01-26 (9:55) violin, piano Into Eclipse [New Version for Cello Solo Prepared
  • Reconstructing Lost Instruments Praetorius’S Syntagma Musicum and the Violin Family C

    Reconstructing Lost Instruments Praetorius’S Syntagma Musicum and the Violin Family C

    Prejeto / received: 3. 5. 2019. Odobreno / accepted: 12. 9. 2019. doi: 10.3986/dmd15.1-2.07 RECONSTRUCTING LOST INSTRUMENTS Praetorius’S Syntagma musicum and the Violin Family C. 1619 Matthew Zeller Duke University Izvleček: Knjigi De organographia in Theatrum Abstract: Michael Praetorius’s De organographia instrumentorum Michaela Praetoriusa vsebujeta and Theatrum instrumentorum provide valuable dragocene namige, ki pomagajo pri poznavanju clues that contribute to a new understanding glasbil iz družine violin okoli leta 1619; številna of the violin family c. 1619, many surviving ex- preživela glasbila so manjša, kot so bili izvirniki amples of which are reduced in size from their v 16. in 17. stoletju. Podatki o preživelih glas- sixteenth- and seventeenth-century dimensions. bilih – predvsem izdelki družine Amati – skupaj The record of surviving instruments – especially z metrologijo, sekundarno dokumentacijo in those of the Amati family – alongside metrologic, ikonografskim gradivom kažejo na to, da je documentary and iconographic evidence shows Michael Praetorius opisal veliko glasbilo, po that Michael Praetorius describes a large in- velikosti izjemno podobno violončelu (basso strument conforming remarkably well to the da braccio),kar je odličen primer predstavitve original dimensions of the basso da braccio glasbila iz družine violin in točne uglasitve, kot (violoncello), as well as furnishing an excellent so jih poznali v času izida Praetoriusovega dela. scale representation of the violin family as it was at the time of these works’
  • Violinoctet Violin First European Quintet Performs

    Violinoctet Violin First European Quintet Performs

    ViolinOctetOctet New Voices for the 21st Century Volume 2, Number 6 Spring 2007 First European Quintet Performs says that van Laethem likes to participate in new and unusual concerts and performance set- tings, which gave Wouters the idea that van Laethem might be interested in the octet in- struments, which he was. Van Laethem is also a teacher at the Academie voor Muziek en Woord in Mol, and took it upon himself to fi nd others who would like to play the new instruments in concert. Jan Sciffer, who played the alto, is the cello in- structor at the Academy. All the other performers were stu- dents. The performers were enthusias- tic about the new instruments, and although the performance was planned to be a single event, the payers want to keep on playing them. A quintet of New Violin Family instruments in rehearsal in Belgium. (l to r) Bert van Laethem, soprano; Eveline Debie, mezzo; Jan Sciff er, alto; Jef Kenis, tenor; and Greg Brabers, baritone. The concert took place on February 10, 2007 at to Belgium via email; “Purcell’s Fantasia on One 8:00 p.m. in the Saint Peter and Paul Church in Note,” and the aria from Bach’s Cantata 124. Mol, Belgium, a small city about 40 km east of Antwerp. There were an estimated 200 people Before the ensemble played, the director of the attending, most of whom were local residents of school gave a short introduction. Wouters says it Mol. The quintet, which was made up of teach- was clear that this gentleman (name unavailable ers and students from a local music academy, at press time) had done his homework and had performed only a few selections because their carefully read all the information Wouters had performance was just one part of the music acad- given him.
  • What Size Viola?

    What Size Viola?

    From Violins and Violinists December 1943 What Size Viola? VIOLA EXPERIMENTA By Robert Dolejsi When the Violin finally reached her destiny in the ideal instrument that knows no peer today, and was recognized as the stringed mistress of the soprano family, it fell to the unfortunate lot of that hapless maiden Viola to become the subject of avid experimentation. In their search for an instrument of identical design and superb characteristics, makers, luthiers, artisans and, (indirectly through suggestion) composers and players, conducted intense experiments to find a medium of deeper register that would represent the alto and tenor voice and thus complete the quartet of strings. There is ample ground in all instrumental bibliography to support the theory that experimentation was one of the chief causes for the numerous sizes in fiddles that marked instrument making in the viola category from the 17th century onward. That generic English term Viol designated the instrument that succeeded the medieval fiddle. In literature at least, though not in actual invention, it preceded the violin family; for it must be emphasized that contrary to general conception, the viol was more the precursor and not the predecessor or direct ancestor of the violin. This distinction in progenitorship belongs to that branch of the instrumental tree represented by the rebec and Iyra—and all three branches were growing and developing simultaneously side by side. The experimental premise had already been laid in the highly variegated family of viols. Oddly enough, and paradoxically too, it appears that the viola or tenor ( the names were interchangeable during a period when great confusion in sizes and types existed ), was the first of the viol family to adopt changes in tuning and string number.
  • Twelfth Night KEY CHARACTERS and SENSORY MOMENTS

    Twelfth Night KEY CHARACTERS and SENSORY MOMENTS

    Twelfth Night KEY CHARACTERS AND SENSORY MOMENTS Characters Viola Sebastian Olivia Malvolio Sir Andrew Sir Toby Feste Maria Orsino Antonio Sensory Moments Below is a chronological summary of the key sensory moments in each act and scene. Latex balloons are used onstage throughout the show. Visual, dialogue or sound cues indicating dramatic changes in light, noise or movement are in bold. PRESHOW • A preshow announcement plays over the loudspeaker and instruments tune onstage. ACT ONE SCENE ONE SENSORY MOMENTS • Feste begins to sing a song. When he puts DESCRIPTION a paper ship in the water, the storm begins. At Duke Orsino’s palace in Illyria, Cesario and There is frequent loud thunder, flickering others sing for Orsino. He’s in love with the lights and flashes of lightning via strobe countess Olivia, but it’s unrequited because she lights. Actors shout during the turmoil, is in mourning for her brother and won’t receive cymbals crash and drums rumble. his messengers. • The storm sequence lasts about 90 seconds. • After the storm, lights slowly illuminate SENSORY MOMENTS the stage. • Actors begin singing a song. Orsino enters the stage and picks up a balloon. When he walks to the center of the stage, the balloon SCENE TWO pops loudly. • When Orsino says, “Love-thoughts lie rich DESCRIPTION when canopied with bowers,” the actors Viola washes ashore in Illyria, saved by the leave the stage, suspenseful music plays and ship’s captain. She asks the captain to help her the lights go dark. disguise herself so she can get work in Orsino’s court.
  • Bisexuality and Transvestitism in William Shakespeare's Twelfth Night

    Bisexuality and Transvestitism in William Shakespeare's Twelfth Night

    Articulāte Volume 2 Article 5 1997 Bisexuality and Transvestitism in William Shakespeare's Twelfth iN ght Julie Driscoll Denison University Follow this and additional works at: http://digitalcommons.denison.edu/articulate Part of the English Language and Literature Commons Recommended Citation Driscoll, Julie (1997) "Bisexuality and Transvestitism in William Shakespeare's Twelfth iN ght," Articulāte: Vol. 2 , Article 5. Available at: http://digitalcommons.denison.edu/articulate/vol2/iss1/5 This Article is brought to you for free and open access by Denison Digital Commons. It has been accepted for inclusion in Articulāte by an authorized editor of Denison Digital Commons. Julie Driscoll 25 or in the Renaissance, this was the role of Viola in Twelfth Night. duties. Her flourishing remarks and declaration of devotion to her BLSEXUALITY AM) TRANSVESTITLSM IN WILLIAM SHAKESPEARE'S The acceptance of such a practice has worked its way into society, imply a definite sexual attraction. However, she shares the same proving to be another perspective one can apply toward interpreta- Twi:um NIGHT attitude toward Orsino, suggesting that she would be a better woman tions of Twelfth Night. The way in which these devices affect the fit for him, as she has already devoted her service as an attendant. actions of characters is relevant in examining their intentions, de- Viola displays the same tone of love toward both Orsino and Olivia JULIE DRISCOLL '97 ceptions, and sexual desires throughout the play. and adorns each with varying compliments, exhibiting bisexual be- Historically, bisexuality has been written out of literature, and havior. possibly out of the Shakespeare canon.
  • Proposed Core Literature Titles Twelfth Night, Or, What You Will

    Proposed Core Literature Titles Twelfth Night, Or, What You Will

    Proposed Core Literature Titles The following summary is provided by the California Department of Education’s “Recommended Literature List”, and the top three Google searches of the book title and author name that produced a description of the title. Twelfth Night, or, What You Will Proposed Grade Level: 8 Title: Twelfth Night, or, What You Will ​ ​ Author: William Shakespeare ​ First Published: 2002 ​ Lexile Level: 1140 ​ Proposed Grade Level: 8 ​ California Department of Education, Recommended Literature List: https://www.cde.ca.gov/ci/cr/rl/ This title is on the CDE Recommended Literature List. Annotation: On the island of Illyria, Duke Orsino pines away for the love of the beautiful, but ​ unapproachable Olivia. A tempest occurs that brings Viola and Sebastian to the shores, and a renewed pursuing of affection begins among the island's inhabitants. (Circa 1600.) Copyright: 1992: ​ Original Copyright: 1600 ​ Grade Level Span: 9-12 ​ Genre: Drama ​ Classification: Classic ​ Topic: English-Language Arts/General ​ Discipline: English Language Arts/Vocabulary; Visual and Performing Arts ​ Descriptions From Top 3 Google Searches: Search: "Twelfth Night or What You Will" by William Shakespeare https://en.wikipedia.org/wiki/Twelfth_Night Viola is shipwrecked on the coast of Illyria and she comes ashore with the help of a Captain. She has lost contact with her twin brother, Sebastian, whom she believes to be drowned, and with the aid of the Captain, she disguises herself as a young man under the name Cesario and enters the service of Duke Orsino. Duke Orsino has convinced himself that he is in love with Olivia, who is mourning the recent deaths of her father and brother.
  • Catgut Acoustical Society Journal

    Catgut Acoustical Society Journal

    http://oac.cdlib.org/findaid/ark:/13030/c8gt5p1r Online items available Guide to the Catgut Acoustical Society Newsletter and Journal MUS.1000 Music Library Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-1212 [email protected] © 2013 The Board of Trustees of Stanford University. All rights reserved. Guide to the Catgut Acoustical MUS.1000 1 Society Newsletter and Journal MUS.1000 Descriptive Summary Title: Catgut Acoustical Society Journal: An International Publication Devoted to Research in the Theory, Design, Construction, and History of Stringed Instruments and to Related Areas of Acoustical Study. Dates: 1964-2004 Collection number: MUS.1000 Collection size: 50 journals Repository: Stanford Music Library, Stanford University Libraries, Stanford, California 94305-3076 Language of Material: English Access Access to articles where copyright permission has not been granted may be consulted in the Stanford University Libraries under call number ML1 .C359. Copyright permissions Stanford University Libraries has made every attempt to locate and receive permission to digitize and make the articles available on this website from the copyright holders of articles in the Catgut Newsletter and Journal. It was not possible to locate all of the copyright holders for all articles. If you believe that you hold copyright to an article on this web site and do not wish for it to appear here, please write to [email protected]. Sponsor Note This electronic journal was produced with generous financial support from the CAS Forum and the Violin Society of America. Journal History and Description The Catgut Acoustical Society grew out of the research collaboration of Carleen Hutchins, Frederick Saunders, John Schelleng, and Robert Fryxell, all amateur string players who were also interested in the acoustics of the violin and string instruments in the late 1950s and early 1960s.