DOCSLIB.ORG

CH Rental 6/11/14 10:21 AM Page 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CH Rental 6/11/14 10:21 AM Page 1 06-22 DCINY_CH Rental 6/11/14 10:21 AM Page 1 Sunday Afternoon, June 22, 2014, at 2:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Distinguished Concerts International New York (DCINY) Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director presents Under the Western Sky Hometown Praise: Music from Utah UTAH VOICES and THE LEGACY BRASS ENSEMBLE MICHAEL D. HUFF, Director CARRIE MORRIS, Accompanist WILLIAM WALKER “Saints Bound for Heaven” from arr. Mack Wilberg The Southern Harmony (1835) KURT BESTOR “Prayer of the Children” arr. Andrea S. Klouse LEROY ROBERTSON “The Lord’s Prayer” from Oratorio from the Book of Mormon Music by J. ELLIS “How Firm a Foundation” Lyrics by ROBERT KEEN arr. Mack Wilberg Music by CRAWFORD Selections from Promised Valley GATES, Lyrics by ARNOLD SUNDGAARD WILLIAM CLAYTON “Come, Come Ye Saints” arr. Mack Wilberg SAMUEL A. WARD “America, the Beautiful” arr. Michael D. Huff IRISH FOLK SONG “Be Thou My Vision” arr. Michael D. Huff ENGLISH FOLK SONG “Thou Gracious God, Whose Mercy Lends” arr. Mack Wilberg Intermission PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 06-22 DCINY_CH Rental 6/11/14 10:21 AM Page 2 MARIACHI ESPUELAS DE PLATA NORTH SIDE HIGH SCHOOL (TX) RAMON NIÑO III, Director IMELDA MARTINEZ, Director PEPE GUIZAR “Tema y Guadalajara” arr. Crescencio Hernández/ Carlos Martinez TRADITIONAL “Trompetas del Diablo” Polka arr. José Hernández VERACRUZ FOLK SONG “El Alegre” arr. José Hernández / Eduardo López DISTINGUISHED CONCERT SINGERS INTERNATIONAL CRISTIAN GRASES, DCINY Debut Conductor CARLOS CUEVAS, Piano WALDO CHAVEZ, Bass AARON SERFATY, Percussion DAWN DRAKE, Percussion ALBERTO GRAU “El Viento ” from Opereta Ecológica ALBERTO GRAU “La Cucaracha” LARRY FARROW “Jamaican Market Place” CRISTIAN GRASES Gloria (World Premiere) Gloria Te Alabamos Señor Dios Porque Solo Tú Am én CRISTIAN GRASES “Tottoyo” CRISTIAN GRASES “Calypso “ We Want to Hear From You! Upload your intermission photos and post-show feedback to Twitter, Instagram, and Facebook. #UndertheWesternSky | @DCINY 06-22 DCINY_CH Rental 6/11/14 10:21 AM Page 3 Notes ON THE PROGRAM Hometown Praise: Music from Utah Evidence of Utah’s rich history reaches The Mormon settlers were people of deep back about 12,000 years, as the area faith, and it was a combination of their now known as Utah was inhabited distinctive doctrine and flourishing by Paleolithic peoples (10,000–8,000 popu lation that led to troubles with their B.C.), and Desert Archaic people (ca. neighbors in Missouri and Illinois. The 8,000 B.C.). The land was unoccupied Mormons were driven at gunpoint from for thousands of years as the Great their frontier homes, and ultimately the Basin was covered with water. The decision was made by church leaders to Fremont and Puebloan cultures flour - leave the United States and seek safety ished separately for hundreds of years among the mountain valleys of what was thereafter. And in about A.D. 1200, the then Mexican territory. They travelled by Shoshone, Goshutes, Utes, and Paiutes covered wagon and on foot, many pulling inhabited the land. In the 16th century, handcarts, from Iowa to Utah in, what the Navajo and Apache lived in parts of historians call, the great Mormon migra- what is now Utah. tion. From these troubled beginnings, Utah has flourished to become a center of Spanish explorers during the 16th and culture and commerce. The population is 17th centuries passed through but did still LDS-dominant, and Utahans cele - not settle in Utah. Fur trappers, includ - brate their unusual heritage each July 24 ing Jim Bridger, explored the area. But by commemorating Mormon leader, Brig- it wasn’t until 1847—when early mem - ham Young’s entrance into the Salt Lake bers of the Church of Jesus Christ of Valley. The first half of today’s program Latter-day Saints (LDS), also known as seeks to capture some of the fervor and Mormon pioneers, entered the valley of faith of Utah’s present-day inhabitants by the Great Salt Lake—that the land was offering music created by Utah composers permanently settled. that connect history with present-day life. WILLIAM WALKER “ Saints Bound for Heaven” from The Southern Harmony “Saints Bound for Heaven” comes church-goers during the 19th century. from The Southern Harmony , a shape- Arranger Mack Wilberg (b. 1955) has note hymn and tune book compiled by taken four of the original seven verses William Walker, originally printed in to create a thrilling anthem that speaks 1835 and in regular use by American of deliverance and rejoicing. 06-22 DCINY_CH Rental 6/11/14 10:21 AM Page 4 KURT BESTOR “ Prayer of the Children” As a young man, Kurt Bestor (b. 1958), a then witnessed the tragedy of war in that Utah composer best known for his work land, his deep emotional connection with in film and commercial music, served as a those people led him to write “Prayer of missionary for the LDS Church in the for - the Children,” a poignant plea for peace mer Yugoslavia. After he returned, and in a troubled world. LEROY ROBERTSON “ The Lord’s Prayer” from Oratorio from the Book of Mormon Leroy Robertson (1896–1971) was per - his best-known works is “The Lord’s haps one of Utah’s best-known 20th Prayer,” taken from his Oratorio from century composers, having studied with the Book of Mormon (1953), and Ernest Bloch at the San Francisco recorded by the Mormon Tabernacle Conservatory of Music, and later with Choir (the “flip side” of this single was Hugo Leichtentritt in Berlin. Among The Battle Hymn of the Republic ). J. ELLIS “ How Firm a Foundation” Mack Wilberg’s setting of the Christian LDS Hymnal . It is one of the few hymn hymn, “How Firm a Foundation” was texts in which Our Lord speaks in the a favorite of Confederate General first person, offering words of hope: Robert E. Lee, and is a staple in the “I’ll never, no never, no never forsake!” CRAWFORD GATES Selections from Promised Valley In 1946, then 25-year-old Utah composer, was signed as the lead in Promised Crawford Gates (b. 1921) was asked t o Valley , along with Jet McDonald and a write a musical to commemorate the strong cast of local actors in supporting 100th anniversary of the Mormon settle - roles. Lowell Lees directed the show, ment of the Salt Lake Valley. His instruc - with Utah Symphony conductor Maurice tions were to create “the Oklahoma of the Abravanel directing the music. The per - Mormons.” The resulting musical pro - formance was staged at the University of duction, Promised Valley , with book Utah stadium to audiences that exceeded and lyrics by Arnold Sundgaard, told the 10,000, and the show ran for more than story of the Mormon migration across a month in 1947. It subsequently played the Great Plains to Utah through the for 19 summers at the Promised Valley eyes of a young couple. Alfred Drake, Playhouse in Salt Lake City, and has who had been singing and starring on enjoyed countless revivals among LDS Broadway for four years in Oklahoma , communities and congregations. 06-22 DCINY_CH Rental 6/11/14 10:21 AM Page 5 WILLIAM CLAYTON “ Come, Come, Ye Saints” William Clayton was an early English wives, Diantha, had given birth to a convert to the LDS Church, and migrat - healthy baby boy, William Adriel Benoni ed with the Mormons to Utah. In April Clayton. In his journal, he wrote “… [I] 1846, while camped near Locust Creek composed a new song, ‘All is Well.’ I feel on the plains of Iowa, Clayton wrote the to thank my heavenly father for my boy words to the LDS hymn, now known as and pray that he will spare and preserve “Come, Come, Ye Saints” which is sung his life and that of his mother and so to the music of a traditional English order it so that we may soon meet song, “All is Well.” The hymn was in again .” For today’s Latter-day Saints, response to good news from Mormons this hymn is a much-loved anthem of still living in Nauvoo. One of his plural faith and hope. SAMUEL A. WARD “ America, the Beautiful” Utah celebrates two major holidays in United States to the Valley of the Great July: the 4th of July commemorates the Salt Lake. Utahans are proudly patriotic, signing of the Declaration of Indepen- and Michael Huff’s setting of “America, dence and the 24th of July commemo - the Beautiful” gives voice to Utah’s rates the Mormon Exodus from the hometown pride. IRISH FOLK SONG “ Be Thou My Vision” Folk and hymn tunes from the British Dallán Forgaill in the 6th century. The Isles permeate Utah’s hymnody. The English text was first versified by Eleanor original Old Irish text of “Be Thou My Hull in 1912. Michael D. Huff has set the Vision” is often attributed to Saint text to an old Irish Folk tune. ENGLISH FOLK SONG “ Thou Gracious God, Whose Mercy Lends” Oliver Wendell Holmes penned the “The Water is Wide”. With words of text, “Thou Gracious God, Whose thanks, and a resounding Amen , we Mercy Lends,” which speaks of home, end our program of hometown praise, fidelity, friendship, loving ties, and the music of faith by Utah composers, sung love of God. Mack Wilberg has set by Utah Voice s. the text to the English folk tune, “O Waly, Waly,” more popularly known as —Program notes by Michael D. Huff 06-22 DCINY_CH Rental 6/11/14 10:21 AM Page 6 ALBERTO GRAU “ El Viento” from Opereta Ecológica Alberto Grau was born in Spain in 1937 textures from Latin America and the and relocated to Venezuela at an early Caribbean, rhythmic motives that age.
Load more

Recommended publications
  • Journal of Book of Mormon Studies Contributors
    Journal of Book of Mormon Studies Volume 13 Number 1 Article 1 7-31-2004 Contributors Journal of Book of Mormon Studies Follow this and additional works at: https://scholarsarchive.byu.edu/jbms BYU ScholarsArchive Citation Studies, Journal of Book of Mormon (2004) "Contributors," Journal of Book of Mormon Studies: Vol. 13 : No. 1 , Article 1. Available at: https://scholarsarchive.byu.edu/jbms/vol13/iss1/1 This Front Matter is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Journal of Book of Mormon Studies by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. CONTRIBUTORS Gerald S. Argetsinger is an associate professor in the Department of Cultural and Creative Studies at the National Technical Institute for the Deaf, a college of the Rochester Institute of Technology. He received a BA in theatre from Brigham Young University and a PhD in dramaturgy from Bowling Green State University. He has 25 years’ experience in directing outdoor drama, and his scholarly writings include two books on the father Gerald S. Argetsinger of Danish theatre, Ludvig Holberg. David F. Boone is associate professor of church history and doctrine at Brigham Young University. His research interests include the frontier American West, the historical Southern States Mission, and the Church of Jesus Christ of Latter-day Saints in the 20th century. David F. Boone John E. Clark is professor of anthropology at Brigham Young University and director of the BYU New World Archaeological Foundation. John E.
    [Show full text]
  • The Commissioned Flute Choir Pieces Presented By
    THE COMMISSIONED FLUTE CHOIR PIECES PRESENTED BY UNIVERSITY/COLLEGE FLUTE CHOIRS AND NFA SPONSORED FLUTE CHOIRS AT NATIONAL FLUTE ASSOCIATION ANNUAL CONVENTIONS WITH A BRIEF HISTORY OF THE FLUTE CHOIR AND ITS REPERTOIRE DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Yoon Hee Kim Graduate Program in Music The Ohio State University 2013 D.M.A. Document Committee: Katherine Borst Jones, Advisor Dr. Russel C. Mikkelson Dr. Charles M. Atkinson Karen Pierson Copyright by Yoon Hee Kim 2013 Abstract The National Flute Association (NFA) sponsors a range of non-performance and performance competitions for performers of all ages. Non-performance competitions are: a Flute Choir Composition Competition, Graduate Research, and Newly Published Music. Performance competitions are: Young Artist Competition, High School Soloist Competition, Convention Performers Competition, Flute Choirs Competitions, Professional, Collegiate, High School, and Jazz Flute Big Band, and a Masterclass Competition. These competitions provide opportunities for flutists ranging from amateurs to professionals. University/college flute choirs perform original manuscripts, arrangements and transcriptions, as well as the commissioned pieces, frequently at conventions, thus expanding substantially the repertoire for flute choir. The purpose of my work is to document commissioned repertoire for flute choir, music for five or more flutes, presented by university/college flute choirs and NFA sponsored flute choirs at NFA annual conventions. Composer, title, premiere and publication information, conductor, performer and instrumentation will be included in an annotated bibliography format. A brief history of the flute choir and its repertoire, as well as a history of NFA-sponsored flute choir (1973–2012) will be included in this document.
    [Show full text]
  • Mormon Literature: Progress and Prospects by Eugene England
    Mormon Literature: Progress and Prospects By Eugene England This essay is the culmination of several attempts England made throughout his life to assess the state of Mormon literature and letters. The version below, a slightly revised and updated version of the one that appeared in David J. Whittaker, ed., Mormon Americana: A Guide to Sources and Collections in the United States (Provo, Utah: BYU Studies, 1995), 455–505, is the one that appeared in the tribute issue Irreantum published following England’s death. Originally published in: Irreantum 3, no. 3 (Autumn 2001): 67–93. This, the single most comprehensive essay on the history and theory of Mormon literature, first appeared in 1982 and has been republished and expanded several times in keeping up with developments in Mormon letters and Eugene England’s own thinking. Anyone seriously interested in LDS literature could not do better than to use this visionary and bibliographic essay as their curriculum. 1 ExpEctations MorMonisM hAs bEEn called a “new religious tradition,” in some respects as different from traditional Christianity as the religion of Jesus was from traditional Judaism. 2 its beginnings in appearances by God, Jesus Christ, and ancient prophets to Joseph smith and in the recovery of lost scriptures and the revelation of new ones; its dramatic history of persecution, a literal exodus to a promised land, and the build - ing of an impressive “empire” in the Great basin desert—all this has combined to make Mormons in some ways an ethnic people as well as a religious community. Mormon faith is grounded in literal theophanies, concrete historical experience, and tangible artifacts (including the book of Mormon, the irrigated fields of the Wasatch Front, and the great stone pioneer temples of Utah) in certain ways that make Mormons more like ancient Jews and early Christians and Muslims than, say, baptists or Lutherans.
    [Show full text]
  • NOVEMBER 2003 Liahona
    THE CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS • NOVEMBER 2003 Liahona General Conference Addresses The Journey Begins, by Glen S. Hopkinson More than 12,000 people joined the Church in the British Isles from 1837 to 1847. Nearly 5,000 of them sailed from Liverpool, England, to America, beginning in 1840. They eventually made their way to Nauvoo, Illinois, in at least 36 companies. THE CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS • NOVEMBER 2003 Liahona 2 Conference Summary for the 173rd 37 Repentance and Change SUNDAY AFTERNOON SESSION Semiannual General Conference Elder Dallin H. Oaks 85 We Believe All That God Has 41 Realize Your Full Potential Revealed SATURDAY MORNING SESSION Elder Richard G. Scott Elder L. Tom Perry 4 The State of the Church 89 An Enduring Testimony of the President Gordon B. Hinckley PRIESTHOOD SESSION Mission of the Prophet Joseph 8 A Sure Foundation 44 Personal Priesthood Responsibility Elder Henry B. Eyring Elder Sheldon F. Child Elder Russell M. Nelson 93 “Come, Follow Me” 10 The Atonement, Repentance, 47 Young Men—Holders of Keys Elder William W. Parmley and Dirty Linen Elder Monte J. Brough 95 Are You a Saint? Elder Lynn A. Mickelsen 50 Priesthood, Keys, and the Power Elder Quentin L. Cook 13 Seeing the Promises Afar Off to Bless 97 The Empowerment of Humility Anne C. Pingree Elder Merrill J. Bateman Bishop Richard C. Edgley 16 Let Our Voices Be Heard 53 The Phenomenon That Is You 99 How Choice a Seer! Elder M. Russell Ballard President James E. Faust Elder Neal A.
    [Show full text]
  • Mormons, Opera, and Mozart
    BYU Studies Quarterly Volume 43 Issue 3 Article 4 7-1-2004 Mormons, Opera, and Mozart Gideon O. Burton Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Recommended Citation Burton, Gideon O. (2004) "Mormons, Opera, and Mozart," BYU Studies Quarterly: Vol. 43 : Iss. 3 , Article 4. Available at: https://scholarsarchive.byu.edu/byusq/vol43/iss3/4 This Introduction is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Burton: Mormons, Opera, and Mozart Mormons, Opera, and Mozart Gideon O. Burton ne of the world's great operatic works, The Magic Flute is the subject of this issue of BYU Studies, which presents a variety of perspectives from scholars and performers who have enjoyed and explored Mozart's masterpiece both critically and personally. It may seem unusual for BYU Studies to devote so much attention to a single operatic work, but opera is itself an inclusive art form, inviting the very sort of interdisciplinary study to which this periodical is com(i.i5)mitted. While this opera has pleased diverse audiences from well before the beginnings of Mormonism, Latter-day Saint points of view open up the work in interesting ways. For example, Latter-day Saint doctrines help to high­ light certain themes salient in The Magic Flute (such as the marital union of man and woman), and Mormon history shares some common cul­ tural moments with thematic elements in the opera (such as parts of Freemasonry).
    [Show full text]
  • The Delights of Making Cumorah's Music
    Journal of Book of Mormon Studies Volume 13 Number 1 Article 8 7-31-2004 The Delights of Making Cumorah's Music Crawford Gates Follow this and additional works at: https://scholarsarchive.byu.edu/jbms BYU ScholarsArchive Citation Gates, Crawford (2004) "The Delights of Making Cumorah's Music," Journal of Book of Mormon Studies: Vol. 13 : No. 1 , Article 8. Available at: https://scholarsarchive.byu.edu/jbms/vol13/iss1/8 This Feature Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Journal of Book of Mormon Studies by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Title The Delights of Making Cumorah’s Music Author(s) Crawford Gates Reference Journal of Book of Mormon Studies 13/1–2 (2004): 70–77. ISSN 1065-9366 (print), 2168-3158 (online) Abstract As a missionary in the Eastern States Mission, Crawford Gates participated in the Hill Cumorah Pageant in 1941. Although he loved the music and considered it appro- priate to the Book of Mormon scenes of the pageant, he thought then that the pageant needed its own tailor- made musical score. Twelve years later he was given the opportunity to create that score. Gates details the challenge of creating a 72-minute musical score for a full symphony orchestra and chorus while working full time as a BYU music faculty member and juggling church and family responsibilities. When that score was retired 31 years later, Gates was again appointed to create a score for the new pageant.
    [Show full text]
  • David H. Sargent History
    David H. Sargent History Brigham Young University School of Music Professor of Composition/Theory/Composer in Residence, 1976-2008 Interview June 16, 2009 Education: BA, Brigham Young University, 1966 MM, University of Illinois, 1968 MA, Brigham Young University, 1969 DMA, University of Illinois, 1975 Interview with Mike Ohman-June 16, 2009 David, you’ve been at BYU thirty-two In the process of your education at years. Your experiences are important BYU, you were also a teaching to preserve. Tell us about where you assistant. were raised, and little of your educational background. Yes. I taught a theory class, and what was called a dictation class—ear training. I grew up in Springville, Utah, a town next door to BYU. I started piano at age seven When you came to BYU as an and took lessons until I went on my undergraduate, who were some of your mission. My undergraduate major at BYU professors? Also, what was the facility was music, my minor German. I did a like? master‟s degree at BYU. In those days, everybody‟s master‟s degree was the same: My BYU days began in 1959, but I didn‟t about a third of it was music education, a get started in music until 1963. I took two third musicology, and a third theory. Very years off 1961-1963 for my mission. The little was left over for your specialty. theory classes were taught in the Knight Mangum Building. When I applied at the University of Illinois, School of Music, they didn‟t Martha: I also started in 1963.
    [Show full text]
  • The Wedding of Music and Scripture in Leroy Robertson's Oratorio from the Book of Mormon
    Inspired Melody and Chosen Word: The Wedding of Music and Scripture in Leroy Robertson's Oratorio from the Book of Mormon Marian Robertson-Wilson The Oratorio from the Book of Mormon by Leroy Robertson is a dramatic presentation of certain events in the Book of Mormon which are portrayed by key personages and tied together by a compact narrative. As such, it resembles an unstaged opera. Robertson himself described it as “a fresh, new American approach to the greatest, age-old story ever told” and further stated that in this composition he hoped to crystallize the powerful events concerning the prediction, the birth, ministry, death and resurrection of Jesus Christ, as contained in the Book of Mormon, at a high level of art which would give it [the story] a degree of permanence as a work.1 Brief History of Its Composition The idea for an oratorio based on material from the Book of Mormon was rst planted in Robertson’s mind by Apostle Melvin J. Ballard circa 1919 when this high church dignitary chanced one day to sit by the young violin- toting musician during a ride to Salt Lake City on the old interurban train.2 Although the concept never left him, Robertson was unable to begin serious and consistent work on the Oratorio until the 1940s. It was virtually completed in 1947 and premiered in 1953 by University of Utah choruses, the required soloists, and the Utah Symphony, all under the direction of Maurice Abravanel.3 It was recorded by a local company at that time, and then again in 1961 by Abravanel and his loyal forces under the auspices of Vanguard Recording Society, Inc.
    [Show full text]
  • The Secularization of the Repertoire of the Mormon Tabernacle Choir, 1949-1992
    THE SECULARIZATION OF THE REPERTOIRE OF THE MORMON TABERNACLE CHOIR, 1949-1992 Mark David Porcaro A dissertation submitted to the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music (Musicology) Chapel Hill 2006 Approved by Advisor: Thomas Warburton Reader: Severine Neff Reader: Philip Vandermeer Reader: Laurie Maffly-Kipp Reader: Jocelyn Neal © 2006 Mark David Porcaro ALL RIGHTS RESERVED ii ABSTRACT MARK PORCARO: The Secularization of the Repertoire of the Mormon Tabernacle Choir, 1949-1992 (Under the direction of Thomas Warburton) In 1997 in the New Yorker, Sidney Harris published a cartoon depicting the “Ethel Mormon Tabernacle Choir” singing “There’s NO business like SHOW business...” Besides the obvious play on the names of Ethel Merman and the Mormon Tabernacle Choir, the cartoon, in an odd way, is a true-to-life commentary on the image of the Salt Lake Mormon Tabernacle Choir (MTC) in the mid-1990s; at this time the Choir was seen as an entertainment ensemble, not just a church choir. This leads us to the central question of this dissertation, what changes took place in the latter part of the twentieth century to secularize the repertoire of the primary choir for the Church of Jesus Christ of Latter-day Saints (LDS)? In the 1860s, when the MTC began, its sole purpose was to perform for various church meetings, in particular for General Conference of the LDS church which was held in the Tabernacle at Temple Square in Salt Lake City. From the beginning of the twentieth century and escalating during the late 1950s to the early 1960s, the Choir’s role changed from an in-house choir for the LDS church to a choir that also fulfilled a cultural and entertainment function, not only for the LDS church but also for the American public at large.
    [Show full text]
  • J.J. Keeler History
    J.J. Keeler History Photo taken 1968 By Dr. Glenn Williams Brigham Young University School of Music Professor of Organ 1935-1996 (61 years) Interview with Virginia Keeler June 2, 2008 (95 years of age) June 2, 2008 with Mike Ohman Virginia Bowles Keeler 2 Education: Graduated from Brigham Young High School 1931 Certificate from Karl Straube, Leipzig, Germany 1933 Brigham Young University, B.M. abt 1935 Brigham Young University, M.M. abt 1950 Early Brigham Young University Music Faculty: Dr. Franklin Madsen, with his wide experience as a conductor in the United States and Europe and with his extensive educational background, has created within the Music Department of the Brigham Young University a noted degree of excellence in choral music. Dr. Madsen has also been teaching at the Chicago College of Music during the summer months, and has toured Europe as a musician on three different occasions. The combined choruses of the men and women’s glee clubs, as well as other students interested in vocal music, are known as the Concert Chorus. This group, directed by Dr. Franklin Madsen and Dr. Florence Jepperson Madsen, has been praised highly for their appreciation of choral singing and the refined quality they display in singing classical and church music. The chorus, accompanied by the University’s Symphony Orchestra, and the organ artistry of Professor J. J. Keeler, presented to an equally enthusiastic audience the famed Handel’s ―Messiah.‖ Dr. Florence Jepperson Madsen shares with her husband the commendation and praise for their accomplishments in vocal music, and is tireless in her efforts to further good music at the University.
    [Show full text]
  • An Oral History of Utah Valley University Interview with Dr. Terry
    UTAH VALLEY UNIVERSITY Utah Valley University Library George Sutherland Archives & Special Collections Oral History Program Telling Our Story: An Oral History of Utah Valley University Interview with Dr. Terry Hill September 15, 2011 An oral history project directed by Catherine McIntyre, Archivist & Digitization Librarian, UVU Library & George Sutherland Archives Interview with Dr. Terry Hill UVU Library, George Sutherland Archives September 15, 2011 CM: Catherine McIntyre, Archivist MF: Mike Freeman, Director of UVU Library JM: Jeremy Myntti, Archives intern and former student of Dr. Hill TH: Terry Hill, retired professor of music at UVU [Interview begins 00:18.8] CM: Today is September 15, and we're here at the UVU Sutherland Archives with Dr. Terry Hill, who is a retired professor of music at UVU and I have here—I'm Catherine McIntyre and we have Mike Freeman, the library director here and Jeremy Myntti. If you want to tell us a little about yourself first—about your background, your educational background, where you're from, and how you came here, and all that. TH: All that good stuff. I'm from Provo. I was born and raised here. I went to Provo High School, and Dixon Jr. High, where I started playing in the orchestra in seventh grade, and by the time I was in ninth grade I was in the local symphony, the Utah Valley Symphony, the adult orchestra. That proved to be a real advantage. That put me about a decade ahead of most people and their experiences. I can go back to that later. [Then I went to] Brigham Young University [as a] music education major.
    [Show full text]
  • Journeys of Creativity and Discovery T UPCOMING EVENTS Faculty Luncheon with Eric Mazur | May 15
    BRIGHAM YOUNG UNIVERSITY-IDAHO | SPRING 2015 | VOL. 15 NUM.2 t Journeys of Creativity and Discovery t UPCOMING EVENTS Faculty Luncheon with Eric Mazur | May 15 Spori Summit Coming Fall 2015 This overnight retreat is held at the Sky Mountain Ranch west of Victor, ID every fall. The retreat allows BYU-Idaho faculty from any department and various backgrounds the opportunity to share ideas about instruction and develop lasting friendships with colleagues. “How Student Learning Transformed My Teaching” 12:00–1:30 pm, MC Grand Ballroom Each year, the Academic Office brings a national leader in higher education to speak with our faculty. This year, Eric Mazur, recipient of the Minerva Prize, will be our presenter. He is recognized worldwide for his contribution to learning in higher education. We are pleased to have Dr. Mazur speak to our faculty and give the workshops listed below: Faculty Banquet June 11, 6 pm, MC Grand Ballroom “Flat Space, Deep Learning” 10:15–11:00 am, MC 387 Join us for this year’s annual Faculty Banquet and awards ceremony as we honor and learn “Peer Instruction” (requires RSVP) from great colleagues. 2:00–3:15 pm, MC 387 Q&A Session Brown Bag 3:30–4:30 pm, MC 387 May 21, 1:00 pm, MC 387 May 22, 11:30 pm, MC 372 June 18, 1:00 pm, MC 387 June 19, 11:30 am, MC 387 R&CW Conference July 16, 4:30 - 6:30 pm, I-Center We invite all faculty to use this as a forum for exhibiting student learning in senior projects and upper-division courses.
    [Show full text]