Music from the 1918 Influenza Pandemic
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The Role of Harmony and Timbre in Maurice Ravel's Cycle Gaspard De
Miljana Tomić The role of harmony and timbre in Maurice Ravel’s cycle Gaspard de la Nuit in relation to form A thesis submitted to Music Theory Department at Norwegian Academy of Music in partial fulfilment of the requirements of the degree of Master’s in Applied Music Theory Spring 2020 Copyright © 2020 Miljana Tomić All rights reserved ii I dedicate this thesis to all my former, current, and future students. iii Gaspard has been a devil in coming, but that is only logical since it was he who is the author of the poems. My ambition is to say with notes what a poet expresses with words. Maurice Ravel iv Table of contents I Introduction ............................................................................................................ 1 1.1 Preface ........................................................................................................................... 1 1.2 Presentation of the research questions ..................................................................... 1 1.3 Context, relevance, and background for the project .............................................. 2 1.4 The State of the Art ..................................................................................................... 4 1.5 Methodology ................................................................................................................ 8 1.6 Thesis objectives ........................................................................................................ 10 1.7 Thesis outline ............................................................................................................ -
Charles M. Joseph. 2011. Stravinsky's Ballets. New Haven: Yale University
Charles M. Joseph. 2011. Stravinsky’s Ballets. New Haven: Yale University Press. Reviewed by Maeve Sterbenz Charles M. Joseph’s recent monograph explores an important subset of Stravinsky’s complete oeuvre, namely his works for dance. One of the aims of the book is to stress the importance of dance for Stravinsky throughout his career as a source of inspiration that at times significantly shaped his develop- ment as a composer. Joseph offers richly contextualized and detailed pictures of Stravinsky’s ballets, ones that will be extremely useful for both dance and music scholars. While he isolates each work, several themes run through Joseph’s text. Among the most important are Stravinsky’s self–positioning as simultaneously Russian and cosmopolitan; and Stravinsky’s successes in collaboration, through which he was able to create fully integrated ballets that elevated music’s traditionally subservient role in relation to choreography. To begin, Joseph introduces his motivation for the project, arguing for the necessity of an in–depth study of Stravinsky’s works for dance in light of the fact that they comprise a significant fraction of the composer’s output (more so than any other Western classical composer) and that these works, most notably The Rite of Spring, occupy such a prominent place in the Western canon. According to Joseph, owing to Stravinsky’s sensitivity to the “complexly subtle counterpoint between ballet’s interlocking elements” (xv), the ballets stand out in the genre for their highly interdisciplinary nature. In the chapters that follow, Joseph examines each of the ballets, focusing alternately on details of the works, histories of their production and reception, and their biographical contexts. -
Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
1918/19: 100 Years On
ESSAYS Ewald Frie 1918/19: 100 YEARS ON Open Futures 1918/19 – War and victory, collapse and defeat, revolution and reform, peace and re- organisation, civil war and violence, famine and Spanish flu and much else. The elements can be separated analytically, and many of them have been analysed individually in a historical context. They have been interpreted and incorporated into the narratives of revolution research, the history of warfare and violence, peace research, the history of diseases and epidemics. But the historical dynamics of 1918/19 resulted from the interplay of the various elements in very different constellations. 1918/19 is therefore a challeng- ing anniversary for a historical scholarship that is exploring new conceptual territory: – spatially: leaving the construct of the nation state and instead ›playing with scales‹1 from the local to the global; – temporally: departing from era- and progress-based master narratives and instead ›zooming in and out‹ and playing with temporal perspectives;2 – conceptually: departing from conceptual constructs due to the blurring of categories like ›crisis‹3 or ›revolution‹4 and instead focusing on a broad range of phenomena of social transformation on the premise of ›multidimensional understandings of emergence and destabilization‹.5 1 E.g. James Retallack (ed.), Imperial Germany 1871–1918, Oxford 2008. 2 E.g. Emily S. Rosenberg (ed.), A World Connecting. 1870–1945, Cambridge 2012 (A History of the World, ed. by Akira Iriye and Jürgen Osterhammel). 3 Cf. Thomas Mergel (ed.), Krisen verstehen. Historische und kulturwissenschaftliche Annäherungen, Frankfurt a.M. 2012, pp. 9-22, and the Leibniz Research Alliance ›Crises in a Globalised World‹: <http://www.leibniz-krisen.de/en/start/>. -
Paris, 1918-45
un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza tions. -
A BIOGRAPHY of JOSEPH MAURICE RAVEL by Matthew Dechirico
A BIOGRAPHY OF JOSEPH MAURICE RAVEL by Matthew DeChirico Joseph Maurice Ravel, who lived from March 1875 to December 1937 was a French composer born in the Basque region of France His mother of Basque-Spanish heritage from Madrid Spain had a strong influence on his life and his music. His father was a Swiss inventor and industrialist from France. Both parents provided a happy and stimulating life for Joseph and his younger brother. His parents encouraged his musical pursuits and sent him at age 14 to the Conservatoire de Paris first as a preparatory student and eventually as a piano major. Although intellectually bright and well read, he was not successful academically even as his musicianship matured. Considered “very gifted” he nevertheless was called “somewhat heedless” in his studies. He failed to meet the requirements of earning a competitive medal and was expelled. He returned three years later studying with Gabriel Faure focusing on composition rather than piano. He was again dismissed for having won neither the fugue nor the composition prize. He remained an auditor with Faure until he left the Conservatoire in 1903. During his years at the Conservatoire, Ravel tried numerous times to win the prestigious Prix de Rome but to no avail: he was probably considered too radical by the conservatives. Ravel’s “String Quartet in F” is now a standard work of chamber music, though at the time it was criticized and found lacking academically. His first significant work, “Habanera” for two pianos was later transcribed into the third movement of his “Rapsodie Espagnole”. -
1) Aspects of the Musical Careers of Grieg, Debussy and Ravel
Edvard Grieg, Claude Debussy and Maurice Ravel. Biographical issues and a comparison of their string quartets Juliette L. Appold I. Grieg, Debussy and Ravel – Biographical aspects II. Connections between Grieg, Debussy and Ravel III. Observations on their string quartets I. Grieg, Debussy and Ravel – Biographical aspects Looking at the biographies of Grieg, Debussy and Ravel makes us realise, that there are few, yet some similarities in the way their career as composers were shaped. In my introductory paragraph I will point out some of these aspects. The three composers received their first musical training in their childhood, between the age of six (Grieg) and nine (Debussy) (Ravel was seven). They all entered the conservatory in their early teenage years (Debussy was 10, Ravel 14, Grieg 15 years old) and they all had more or less difficult experiences when they seriously thought about a musical career. In Grieg’s case it happened twice in his life. Once, when a school teacher ridiculed one of his first compositions in front of his class-mates.i The second time was less drastic but more subtle during his studies at the Leipzig Conservatory until 1862.ii Grieg had despised the pedagogical methods of some teachers and felt that he did not improve in his composition studies or even learn anything.iii On the other hand he was successful in his piano-classes with Carl Ferdinand Wenzel and Ignaz Moscheles, who had put a strong emphasis on the expression in his playing.iv Debussy and Ravel both were also very good piano players and originally wanted to become professional pianists. -
MAURICE RAVEL Miroirs (“Mirrors”) Work Composed: 1904–05 in Contrast to the Voluptuous, Sens
MAURICE RAVEL Miroirs (“Mirrors”) Work composed: 1904–05 In contrast to the voluptuous, sensuous and intentionally ambiguous music of Debussy, Ravel’s compositions are precise, clear in design and economical in scoring. Nonetheless, the music of both composers — and many strikingly similar titles — clearly shares an overlapping sensibility and sense of fantasy. Ravel presented his freshly minted piano score Miroirs (“Mirrors”) to his inner circle of artist friends known collectively as the Apaches, dedicating each movement to a specific member of the tight-knit group. The five-part suite reflects the gauzy evanescence of Debussy’s impressionism while paying homage to Liszt’s pianistic pyrotechnics. The influence of Debussy is felt immediately in the first movement, Noctuelles (“Night moths”). Schumann and other composers have rhapsodized about butterflies but Ravel, who always maintained a fascination for the outré, obviously delighted in the intentional grotesqueries evoked in the music. Not coincidentally, he dedicated this piece to Léon-Paul Fargue, who authored this phrase: “The owlet-moths fly clumsily out of the old barn to drape themselves round other beams.” Rapidly scurrying passagework vividly portrays the rapidly changing flight patterns of the winged insects. In the second piece, Oiseaux tristes (“Sad Birds”), dedicated to pianist Ricardo Viñes, Ravel sought to evoke “birds lost in the torpor of a dark forest during the hottest hours of the summer,” or so the composer explained. Even so, the textures are more crisply chiseled than one might expect from the descriptive explanation. Unlike his latter compatriot, Messiaen, Ravel does not imitate bird-song but conveys an unmistakable avian aura. -
The Forgotten Fronts the First World War Battlefield Guide: World War Battlefield First the the Forgotten Fronts Forgotten The
Ed 1 Nov 2016 1 Nov Ed The First World War Battlefield Guide: Volume 2 The Forgotten Fronts The First Battlefield War World Guide: The Forgotten Fronts Creative Media Design ADR005472 Edition 1 November 2016 THE FORGOTTEN FRONTS | i The First World War Battlefield Guide: Volume 2 The British Army Campaign Guide to the Forgotten Fronts of the First World War 1st Edition November 2016 Acknowledgement The publisher wishes to acknowledge the assistance of the following organisations in providing text, images, multimedia links and sketch maps for this volume: Defence Geographic Centre, Imperial War Museum, Army Historical Branch, Air Historical Branch, Army Records Society,National Portrait Gallery, Tank Museum, National Army Museum, Royal Green Jackets Museum,Shepard Trust, Royal Australian Navy, Australian Defence, Royal Artillery Historical Trust, National Archive, Canadian War Museum, National Archives of Canada, The Times, RAF Museum, Wikimedia Commons, USAF, US Library of Congress. The Cover Images Front Cover: (1) Wounded soldier of the 10th Battalion, Black Watch being carried out of a communication trench on the ‘Birdcage’ Line near Salonika, February 1916 © IWM; (2) The advance through Palestine and the Battle of Megiddo: A sergeant directs orders whilst standing on one of the wooden saddles of the Camel Transport Corps © IWM (3) Soldiers of the Royal Army Service Corps outside a Field Ambulance Station. © IWM Inside Front Cover: Helles Memorial, Gallipoli © Barbara Taylor Back Cover: ‘Blood Swept Lands and Seas of Red’ at the Tower of London © Julia Gavin ii | THE FORGOTTEN FRONTS THE FORGOTTEN FRONTS | iii ISBN: 978-1-874346-46-3 First published in November 2016 by Creative Media Designs, Army Headquarters, Andover. -
The Spanish Flu
through electron microscopes, would that actually than normal for the elderly. The common have empowered them to halt the pandemic? explanation is that this strain of influenza was so There was no cure for the disease then, or now. new that it startled its victims' immune systems Vaccines? Another generation would pass before into overreaction, and the more vigorous the even partially effective vaccines against victim, the greater and deadlier the overreaction. influenza were developed. Even if all the The defensive swelling of membranes and knowledge and technology to produce flu increased secretion of fluids of the respiratory vaccine had been at hand in 1918, would it have system went to extremes in young adults, filling been possible to produce it in sufficient quantity their lungs with liquid until they drowned. and to distribute it across oceans and continents Overstimulation of the immune system is a in time to stop the swiftly spreading breath- plausible theory, but we could subject it to borne pandemic? Even today, when similar rigorous testing only if something like the 19 18 questions are asked each time a new virus returned. strain of the virus appears, the answer falls short of This distinctive influenza epidemic swept over being a confident "yes.” the world in three major waves during 1918 and 1919. We cannot be sure where and when the The influenza of the 1900s is still something of an initial wave in the spring of 1918 started, but the enigma, but the influenza that was sweeping around earliest scientific and statistical evidence points the world at the time of the Armistice ending to the United States in March 1918. -
A Level Schools Concert November 2014
A level Schools Concert November 2014 An Exploration of Neoclassicism Teachers’ Resource Pack Autumn 2014 2 London Philharmonic Orchestra A level Resources Unauthorised copying of any part of this teachers’ pack is strictly prohibited The copyright of the project pack text is held by: Rachel Leach © 2014 London Philharmonic Orchestra ©2014 Any other copyrights are held by their respective owners. This pack was produced by: London Philharmonic Orchestra Education and Community Department 89 Albert Embankment London SE1 7TP Rachel Leach is a composer, workshop leader and presenter, who has composed and worked for many of the UK’s orchestras and opera companies, including the London Sinfonietta, the Orchestra of the Age of Enlightenment, Wigmore Hall, Glyndebourne Opera, English National Opera, Opera North, and the London Symphony Orchestra. She studied at the Guildhall School of Music and Drama, at Opera Lab and Dartington. Recent commissions include ‘Dope Under Thorncombe’ for Trilith Films and ‘In the belly of a horse’, a children’s opera for English Touring Opera. Rachel’s music has been recorded by NMC and published by Faber. Her community opera ‘One Day, Two Dawns’ written for ETO recently won the RPS award for best education project 2009. As well as creative music-making and composition in the classroom, Rachel is proud to be the lead tutor on the LSO's teacher training scheme for over 8 years she has helped to train 100 teachers across East London. Rachel also works with Turtle Key Arts and ETO writing song cycles with people with dementia and Alzheimer's, an initiative which also trains students from the RCM, and alongside all this, she is increasingly in demand as a concert presenter. -
The Inventory of the Phyllis Curtin Collection #1247
The Inventory of the Phyllis Curtin Collection #1247 Howard Gotlieb Archival Research Center Phyllis Curtin - Box 1 Folder# Title: Photographs Folder# F3 Clothes by Worth of Paris (1900) Brooklyn Academy F3 F4 P.C. recording F4 F7 P. C. concert version Rosenkavalier Philadelphia F7 FS P.C. with Russell Stanger· FS F9 P.C. with Robert Shaw F9 FIO P.C. with Ned Rorem Fl0 F11 P.C. with Gerald Moore Fl I F12 P.C. with Andre Kostelanetz (Promenade Concerts) F12 F13 P.C. with Carlylse Floyd F13 F14 P.C. with Family (photo of Cooke photographing Phyllis) FI4 FIS P.C. with Ryan Edwards (Pianist) FIS F16 P.C. with Aaron Copland (televised from P.C. 's home - Dickinson Songs) F16 F17 P.C. with Leonard Bernstein Fl 7 F18 Concert rehearsals Fl8 FIS - Gunther Schuller Fl 8 FIS -Leontyne Price in Vienna FIS F18 -others F18 F19 P.C. with hairdresser Nina Lawson (good backstage photo) FI9 F20 P.C. with Darius Milhaud F20 F21 P.C. with Composers & Conductors F21 F21 -Eugene Ormandy F21 F21 -Benjamin Britten - Premiere War Requiem F2I F22 P.C. at White House (Fords) F22 F23 P.C. teaching (Yale) F23 F25 P.C. in Tel Aviv and U.N. F25 F26 P. C. teaching (Tanglewood) F26 F27 P. C. in Sydney, Australia - Construction of Opera House F27 F2S P.C. in Ipswich in Rehearsal (Castle Hill?) F2S F28 -P.C. in Hamburg (large photo) F2S F30 P.C. in Hamburg (Strauss I00th anniversary) F30 F31 P. C. in Munich - German TV F31 F32 P.C.