DOCSLIB.ORG

Miriam Gideon's Cantata, the Habitable Earth

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Miriam Gideon's Cantata, the Habitable Earth Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2003 Miriam Gideon's cantata, The aH bitable Earth: a conductor's analysis Stella Panayotova Bonilla Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Bonilla, Stella Panayotova, "Miriam Gideon's cantata, The aH bitable Earth: a conductor's analysis" (2003). LSU Major Papers. 20. https://digitalcommons.lsu.edu/gradschool_majorpapers/20 This Major Paper 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 Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. MIRIAM GIDEON’S CANTATA, THE HABITABLE EARTH: A CONDUCTOR’S ANALYSIS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Stella Panayotova Bonilla B.M., State Academy of Music, Sofia, Bulgaria, 1991 M.M., Louisiana State University, 1994 August 2003 ©Copyright 2003 Stella Panayotova Bonilla All rights reserved ii DEDICATION To you mom, and to the memory of my beloved father. iii ACKNOWLEDGMENTS Thanks to Dr. Kenneth Fulton for his guidance through the years, his faith in me and his invaluable help in accomplishing this project. Thanks to Dr. Robert Peck for his inspirational insight. Thanks to Dr. Cornelia Yarbrough and Dr. Sara Lynn Baird for being role models of professionalism and musicianship. Thanks to my husband Hector and my little boy Andres for their love and support. iv TABLE OF CONTENTS ACKNOWLEDGMENTS ................................................................................................. iv LIST OF TABLES............................................................................................................. vi LIST OF EXAMPLES...................................................................................................... vii ABSTRACT..................................................................................................................... xiv CHAPTER 1. BIOGRAPHY AND COMPOSITIONAL OUTPUT..................................1 Biography..................................................................................................................1 Compositional Output...............................................................................................8 CHAPTER 2. THE HABITABLE EARTH: TEXT AND FORMAL STRUCTURE ........50 Text ........................................................................................................................50 Formal Structure ....................................................................................................65 CHAPTER 3. THE HABITABLE EARTH: ANALYSIS.................................................72 Analytical Techniques ...........................................................................................72 Part I.......................................................................................................................79 Part II ...................................................................................................................106 Part III ..................................................................................................................141 CHAPTER 4. ADDITIONAL STYLISTIC OBSERVATIONS AND REHEARSAL STRATEGIES..................................................................................................................154 Additional Stylistic Observations ........................................................................154 Rehearsal Strategies.............................................................................................163 Size of Ensemble and Programming....................................................................176 Conclusion ...........................................................................................................177 BIBLIOGRAPHY............................................................................................................179 APPENDIX: LETTERS OF PERMISSION....................................................................183 VITA................................................................................................................................196 v LIST OF TABLES TABLE 1. The Habitable Earth, Part I, text......................................................................60 TABLE 2. The Habitable Earth, Part II, text ....................................................................62 TABLE 3. The Habitable Earth, Part III, new text ...........................................................64 TABLE 4. The Habitable Earth, Part I, overall structure..................................................66 TABLE 5. The Habitable Earth, Part III, overall structure...............................................67 TABLE 6. The Habitable Earth, Part II, “Drunkard’s Lament,” overall structure ...........69 TABLE 7. The Habitable Earth, Part II, section two, overall structure............................70 vi LIST OF EXAMPLES 1.1. The Condemned Playground, “Hiroshima”, measures 18-24....................................12 1.2. The Condemned Playground, “Hiroshima”, measures 26-39....................................13 1.3. The Condemned Playground, “Hiroshima”, measures 41-43....................................14 1.4. The Hound of Heaven, measures 1-17 .......................................................................17 1.5. The Hound of Heaven, measures 141-149 .................................................................19 1.6. The Hound of Heaven, measures 51-57 .....................................................................21 1.7. Three Sonnets from a Fatal Interview, “Night is my sister,”measures 1-19 .............23 1.8. Questions on Nature, Movement one, voice only, measures 1-4 ..............................25 1.9. Questions on Nature, Movement two, voice only, measures 1-6 ..............................26 1.10. Questions on Nature, Movement three, voice only, measures 1-5 ...........................26 1.11. Questions on Nature, Movement four, voice only, measures 1-9 ............................26 1.12.Questions on Nature, Movement six, voice only, measures 1-6 ...............................26 1.13. Questions on Nature, Movement seven, voice only, measures 1-3..........................27 1.14. Questions on Nature, Movement two, measures 11-15............................................27 1.15. Questions on Nature, Movement three, measures1-4...............................................28 1.16. Questions on Nature, Movement one, measures 14-15 ............................................28 1.17. Rhymes from the Hill, “Die Korfsche Uhre,” measures 1-6 .....................................29 1.18. How Goodly are Thy Tents, measures 1-9................................................................31 1.19. Adon Olam, measures 1-8.........................................................................................33 1.20. Adon Olam, measures 43-47.....................................................................................35 1.21. Shirat Miriam L’Shabbat, Organ Prelude, measures 1-3..........................................37 1.22. Shirat Miriam L’Shabbat, Silent Prayer No. 8, measures 1-4 ..................................37 vii 1.23. Shirat Miriam L’Shabbat, Silent Prayer No. 11, measures 1-4 ................................38 1.24. Shirat Miriam L’Shabbat, “Sh’ma,” measures 1-26.................................................38 1.25. Spiritual Madrigals, “Halleluja,” measures 1-10 .....................................................42 1.26. Spiritual Madrigals, “Halleluja,” measures 51-66 ...................................................43 1.27. Spiritual Madrigals, “Halleluja,” measures 87-96 ...................................................45 1.28. Fantasy on a Javanese Motives, measures 1-15 .......................................................47 2.1. The Habitable Earth, Part I, text................................................................................54 2.2. The Habitable Earth, Part II, section one, text ..........................................................56 2.3. The Habitable Earth, Part II, section two, text..........................................................57 2.4. The Habitable Earth, Part III, text.............................................................................57 2.5. The Habitable Earth, Part III, verses 3:13, 3:16 and 3:17.........................................58 3.1. Interval class table.....................................................................................................78 3.2. The Habitable Earth, Part I, measures 1-3 ...............................................................81 3.3. The Habitable Earth, Part I, measures 4-6 ...............................................................81 3.4. Part I, melodic line, measures 4-6.............................................................................82 3.5. Part I, harmonic progression, measures 4-6..............................................................83 3.6. The Habitable Earth, Part I, measures 7-9 ...............................................................83 3.7. The Habitable Earth, Part I.
Load more

Recommended publications
  • Roger Sessions: a Biography
    ROGER SESSIONS: A BIOGRAPHY Recognized as the primary American symphonist of the twentieth century, Roger Sessions (1896–1985) is one of the leading representatives of high modernism. His stature among American composers rivals Charles Ives, Aaron Copland, and Elliott Carter. Influenced by both Stravinsky and Schoenberg, Sessions developed a unique style marked by rich orchestration, long melodic phrases, and dense polyphony. In addition, Sessions was among the most influential teachers of composition in the United States, teaching at Princeton, the University of California at Berkeley, and The Juilliard School. His students included John Harbison, David Diamond, Milton Babbitt, Frederic Rzewski, David Del Tredici, Conlon Nancarrow, Peter Maxwell Davies, George Tson- takis, Ellen Taaffe Zwilich, and many others. Roger Sessions: A Biography brings together considerable previously unpublished arch- ival material, such as letters, lectures, interviews, and articles, to shed light on the life and music of this major American composer. Andrea Olmstead, a teaching colleague of Sessions at Juilliard and the leading scholar on his music, has written a complete bio- graphy charting five touchstone areas through Sessions’s eighty-eight years: music, religion, politics, money, and sexuality. Andrea Olmstead, the author of Juilliard: A History, has published three books on Roger Sessions: Roger Sessions and His Music, Conversations with Roger Sessions, and The Correspondence of Roger Sessions. The author of numerous articles, reviews, program and liner notes, she is also a CD producer. This page intentionally left blank ROGER SESSIONS: A BIOGRAPHY Andrea Olmstead First published 2008 by Routledge 711 Third Avenue, New York, NY, 10017, USA Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2008 Andrea Olmstead Typeset in Garamond 3 by RefineCatch Limited, Bungay, Suffolk All rights reserved.
    [Show full text]
  • A Heretic in the Schoenberg Circle: Roberto Gerhard's First Engagement with Twelve-Tone Procedures in Andantino
    Twentieth-Century Music 16/3, 557–588 © Cambridge University Press 2019. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi: 10.1017/S1478572219000306 A Heretic in the Schoenberg Circle: Roberto Gerhard’s First Engagement with Twelve-Tone Procedures in Andantino DIEGO ALONSO TOMÁS Abstract Shortly before finishing his studies with Arnold Schoenberg, Roberto Gerhard composed Andantino,a short piece in which he used for the first time a compositional technique for the systematic circu- lation of all pitch classes in both the melodic and the harmonic dimensions of the music. He mod- elled this technique on the tri-tetrachordal procedure in Schoenberg’s Prelude from the Suite for Piano, Op. 25 but, unlike his teacher, Gerhard treated the tetrachords as internally unordered pitch-class collections. This decision was possibly encouraged by his exposure from the mid- 1920s onwards to Josef Matthias Hauer’s writings on ‘trope theory’. Although rarely discussed by scholars, Andantino occupies a special place in Gerhard’s creative output for being his first attempt at ‘twelve-tone composition’ and foreshadowing the permutation techniques that would become a distinctive feature of his later serial compositions. This article analyses Andantino within the context of the early history of twelve-tone music and theory. How well I do remember our Berlin days, what a couple we made, you and I; you (at that time) the anti-Schoenberguian [sic], or the very reluctant Schoenberguian, and I, the non-conformist, or the Schoenberguian malgré moi.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1963-1964
    TANGLEWOOD Festival of Contemporary American Music August 9, 10, 11, 12, 13, 1964 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation RCA Victor R£D SEAL festival of Contemporary American Composers DELLO JOIO: Fantasy and Variations/Ravel: Concerto in G Hollander/Boston Symphony Orchestra/Leinsdorf LM/LSC-2667 COPLAND: El Salon Mexico Grofe-. Grand Canyon Suite Boston Pops/ Fiedler LM-1928 COPLAND: Appalachian Spring The Tender Land Boston Symphony Orchestra/ Copland LM/LSC-240i HOVHANESS: BARBER: Mysterious Mountain Vanessa (Complete Opera) Stravinsky: Le Baiser de la Fee (Divertimento) Steber, Gedda, Elias, Mitropoulos, Chicago Symphony/Reiner Met. Opera Orch. and Chorus LM/LSC-2251 LM/LSC-6i38 FOSS: IMPROVISATION CHAMBER ENSEMBLE Studies in Improvisation Includes: Fantasy & Fugue Music for Clarinet, Percussion and Piano Variations on a Theme in Unison Quintet Encore I, II, III LM/LSC-2558 RCA Victor § © The most trusted name in sound BERKSHIRE MUSIC CENTER ERICH Leinsdorf, Director Aaron Copland, Chairman of the Faculty Richard Burgin, Associate Chairman of the Faculty Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director DEPARTMENT OF COMPOSITION Aaron Copland, Head Gunther Schuller, Acting Head Arthur Berger and Lukas Foss, Guest Teachers Paul Jacobs, Fromm Instructor in Contemporary Music Stanley Silverman and David Walker, Administrative Assistants The Berkshire Music Center is the center for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D. Perry, Jr., Manager BALDWIN PIANO RCA VICTOR RECORDS — 1 PERSPECTIVES OF NEW MUSIC Participants in this year's Festival are invited to subscribe to the American journal devoted to im- portant issues of contemporary music.
    [Show full text]
  • Thefairophelia Joseph Summer’S the Shakespeare Concerts Series
    Joseph summer’s The Shakespeare Concerts Series 2 TheFairOphelia Joseph summer’s The Shakespeare Concerts Series The Fair Ophelia is the second offering in Navona’s THE SHAKESPEARE CONCERTS SERIES, consisting of diverse settings of Ophelia’s mad scene and Gertrude’s reflection on Ophelia’s death from Shakespeare’s The Tragedy of Hamlet, Prince of Denmark by Berlioz, Brahms, Schumann, Saint-Saëns, Strauss, Cage, and Summer. The parallax views of Ophelia experienced by the composers present the listener with an unusual opportunity to hear Ophelia in a three dimensional perspective. Is this tragic Shakespearean maiden mad because she’s angry with those characters who inhabit her world, or should we be angry with those characters who inhibit her predilections, and thus have made mad the hapless heroine? The next offering in Navona’s THE SHAKESPEARE CONCERTS SERIES is GODDESSES, featuring The Tempest’s three goddesses: Juno, Ceres, and Iris in a setting of Honour, Riches, Marriage-Blessing by Joseph Summer. Other highlights are Andrea Chenoweth singing Ariel songs by Thomas Linley accompanied by Massachusetts’ renowned period ensemble, Arcadia Players, under the direction of Ian Watson; mezzo-soprano Kellie Van Horn performing Shall I compare Thee To A Summer’s Day with Jessica Lizak on flute; and In The Old Age Black Was Not Counted Fair with tenor Luke Grooms, baritone Paul Soper, and Clark Matthews on French horn. 2 Program Notes BY JOSEPH SUMMER 3 Introduction There being a myriad of interpretations of the character of Ophelia from Shakespeare’sThe Tragedy of Hamlet, Prince of Den- mark, when it was time for me to create program notes for the 2012 concert, it seemed to me that like the program itself, within which seven composers’ interpretations were realized, the program books should reflect this diversity; ergo, instead of creating a singular template from which every copy would be manufactured, I drew up many different versions.
    [Show full text]
  • Works by George Perle, David Del Tredici, and Nicholas Thorne New World 80380-2
    Works by George Perle, David Del Tredici, and Nicholas Thorne New World 80380-2 The vastly divergent reactions to twelve-tone composition of George Perle, David Del Tredici and Nicholas Thorne are a vivid reflection not only of their different generations, but of the unfolding of musical style change in America. Perle, born in 1915 and educated here at a time when twelve-tone composition was little understood, felt the urge to revise Schoenberg's method so as to reconcile serial chromaticism with the hierarchical elements of tonal practice. The system he evolved, known as “twelve-tone tonality,” has been the basis of most of his compositions until 1969, and all since. Del Tredici, born in 1937, studied at Princeton at a time when serialism had become dogma. Yet he eventually repudiated the technique and turned to a highly eccentric form of tonality. Thorne, born in 1953, gave little thought to twelve-tone composition. “It was the generation before me who had this monkey on its back,” he says. Instead, Thorne came to maturity amid the welter of styles, from minimalism to neo-Romanticism, that characterized America during the 1970s. All three attitudes offer us invaluable insights into the composers and their music. In some circles George Perle is known as a musicologist, particularly for his pathbreaking studies of Alban Berg. In other circles, he is viewed as a theorist, a coherent codifier and radical reviser of serial technique. But he insists that both these pursuits have been sidelines to composition, and his music belies the popular misconception that art conceived under the wing of academia need be abstruse or inaccessible.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1965-1966
    TANGLEWOOD Festival of Contemporary American Music August 14, 15, 16, 17, 18, 1966 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation I " STMVINSKY tt.VlOW agon vam 7/re Boston Symphony SCHULLER 7 STUDIES ox THEMES of PAUL KLEE BOSTON SYMPHONY ORCHESTRA/ERICH lEINSDORf under Leinsdorf Leinsdorf expresses with great power the vivid colors of Schuller's Seven Studies on Themes of Paul Kiee and, in the same album, Stravinsky's ballet music from Agon. Forthe majorsinging roles in Menotti's dramatic cantata, The Death of the Bishop of Brindisi. Leinsdorf astutely selected George London, and Lili Chookasian, of whom the Chicago Daily Tribune has written, "Her voice has the Boston symphony ecich teinsooof / luminous tonal sheath that makes listening luxurious. menotti Also hear Chookasian in this same album, in songs from the death op the Bishop op BRSndlSI Schbnberg's Gurre-Lieder. In Dynagroove sound. Qeonoe ionoon • tilt choolusun s<:b6notec,/ou*«*--l(eoeo. sooq of the wooo-6ove ac^acm rca Victor fa @ The most trusted name in sound ^V V BERKSHIRE MUSIC CENTER ERICH LeinsDORF, Director Joseph Silverstein, Chairman of the Faculty Aaron Copland, Chairman of the Faculty Emeritus Louis Speyer, Assistant Director Victor Babin, Chairman of the Tanglewood Institute Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director FELLOWSHIP PROGRAM Contemporary Music Activities Gunther Schuller, Head Roger Sessions, George Rochberg, and Donald Martino, Guest Teachers Paul Zukofsky, Fromm Teaching Fellow James Whitaker, Chief Coordinator Viola C Aliferis, Assistant Administrator The Berkshire Music Center is maintained for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D.
    [Show full text]
  • Twelve-Tone Serialism: Exploring the Works of Anton Webern James P
    University of San Diego Digital USD Undergraduate Honors Theses Theses and Dissertations Spring 5-19-2015 Twelve-tone Serialism: Exploring the Works of Anton Webern James P. Kinney University of San Diego Follow this and additional works at: https://digital.sandiego.edu/honors_theses Part of the Music Theory Commons Digital USD Citation Kinney, James P., "Twelve-tone Serialism: Exploring the Works of Anton Webern" (2015). Undergraduate Honors Theses. 1. https://digital.sandiego.edu/honors_theses/1 This Undergraduate Honors Thesis is brought to you for free and open access by the Theses and Dissertations at Digital USD. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital USD. For more information, please contact [email protected]. Twelve-tone Serialism: Exploring the Works of Anton Webern ______________________ A Thesis Presented to The Faculty and the Honors Program Of the University of San Diego ______________________ By James Patrick Kinney Music 2015 Introduction Whenever I tell people I am double majoring in mathematics and music, I usually get one of two responses: either “I’ve heard those two are very similar” or “Really? Wow, those are total opposites!” The truth is that mathematics and music have much more in common than most people, including me, understand. There have been at least two books written as extensions of lecture notes for university classes about this connection between math and music. One was written by David Wright at Washington University in St. Louis, and he introduces the book by saying “It has been observed that mathematics is the most abstract of the sciences, music the most abstract of the arts” and references both Pythagoras and J.S.
    [Show full text]
  • Milton Babbitt
    A LIFE OF LEARNING Milton Babbitt Charles Homer Haskins Lecture American Council of Learned Societies ACLS OCCASIONAL PAPER, No. 17 ISSN 1041-536X 1983 Maynard Mack Sterling Professor of English, Emeritus Yale University 1984 Mary Rosamond Haas Professor of Linguistics, Emeritus University of California, Berkeley 1985 Lawrence Stone Dodge Professor of History Princeton University 1986 Milton V Anastos Professor Emeritus of Byzantine Greek and History University of California, Los Angeles 1987 Carl E. Schorske Professor Emeritus of History Princeton University 1988 John Hope Franklin James B. Duke Professor Emeritus Duke University 1989 Judith N. Shklar John Cowles Professor of Government Harvard University 1990 Paul Oskar Kristeller Frederick J. E. Woodbridge Professor Emeritus of Philosophy Columbia University 1991 Milton Babbitt William Shubael Conant Professor Emeritus of Music Princeton University A LIFE OF LEARNING Milton Babbitt Charles Homer Haskins Lecture American Council of Learned Societies ACLS OCCASIONAL PAPER, No. 17 CharlesHomer Haskins (1870-193 7), for whom the ACLS lecture series is named, was the first Chairman of the American Council of Learned Societies, 1920-26. He began his teaching career at the Johns Hopkins University, where he received the B.A. degree in 1887, and the Ph.D. in 1890. He later taught at the University of Wisconsin and at Harvard,where he was Henry CharlesLea Professor of Medieval History at the time of his retirement in 1931, and Dean of the Graduate School of Arts and Sciences from 1908 to 1924. He served as president of the American Historical Association, 1922, and was a founder and the second president of the Medieval Academy of America, 1926.
    [Show full text]
  • David Tudor in Darmstadt Amy C
    This article was downloaded by: [University of California, Santa Cruz] On: 22 November 2010 Access details: Access Details: [subscription number 923037288] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Contemporary Music Review Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713455393 David Tudor in Darmstadt Amy C. Beal To cite this Article Beal, Amy C.(2007) 'David Tudor in Darmstadt', Contemporary Music Review, 26: 1, 77 — 88 To link to this Article: DOI: 10.1080/07494460601069242 URL: http://dx.doi.org/10.1080/07494460601069242 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Contemporary Music Review Vol. 26, No. 1, February 2007, pp. 77 – 88 David Tudor in Darmstadt1 Amy C.
    [Show full text]
  • Artist-In-Residence Recital Nadia Shpachenko-Gottesman, Piano Timothy Hoft, Piano
    Department of MUSIC College of Fine Arts presents Artist-in-Residence Recital Nadia Shpachenko-Gottesman, piano Timothy Hoft, piano PROGRAM "Music for a New B'ak'tun and Otherworldly Resonances" Peter Yates Finger Songs for solo piano (2012) (b. 1953) Mood Swing Gambol Mysterious Dawn Brave Show All Better Adam Schoenberg Picture Etudes for solo piano (20 13) (b. 1980) Three Pierrots Mir6's World Olive Orchard Kandinsky World Premiere INTERMISSION Diego Vega Rhapsody for Two Pianos (2012) (b. 1968) World Premiere George Crumb Otherworldly Resonances (Tableaux, Book II) (b. 1929) for two amplified pianos (2005) Double Helix Celebration and Ritual Palimpsest Tuesday, March 5, 2013 7:30p.m. Dr. Arturo Rando-Grillot Recital Hall Lee and Thomas Beam Music Center University of Nevada, Las Vegas Nadia Shpachenko-Gottesman Pianist Nadia Shpachenko-Gottesman has performed extensively in solo recitals and with orchestras in major venues across North America, Europe and Asia. Described by critics as a "truly inspiring and brilliant pianist. .. spellbinding in sensitivity and mastery of technique," she recently toured Mexico with Orquesta de Baja California, performed with the Kharkov Philharmonic, the Ukrainian National Symphony and the Ukrainian National Radio Symphony Orchestras in Ukraine and the San Bernardino Symphony Orchestra in California. An enthusiastic promoter of contemporary music, she bas given world and national premieres of dozens of piano, string piano and toy piano works by composers such as Leon Kirchner, George Crumb, Henry Cowell, Elliott Carter, Iannis Xenakis, Peter Yates, Tom Flaherty, Dave Kopplin, Yury Isbchenko and others. As a distinguished chamber musician, Dr. Shpachenko bas most recently collaborated with such renowned artists as Jerome Lowenthal, Victor Rosenbaum, David Korevaar, Genevieve Lee, Martin Chalifour, Ronald Leonard, Julie Landsman, and the Biava String Quartet.
    [Show full text]
  • Graduate-Dissertations-21
    Ph.D. Dissertations in Musicology University of North Carolina at Chapel Hill Department of Music 1939 – 2021 Table of Contents Dissertations before 1950 1939 1949 Dissertations from 1950 - 1959 1950 1952 1953 1955 1956 1958 1959 Dissertations from 1960 - 1969 1960 1961 1962 1964 1965 1966 1967 1968 1969 Dissertations from 1970 - 1979 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 Dissertations from 1980 - 1989 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 Dissertations from 1990 - 1999 1990 1991 1992 1994 1995 1996 1998 1999 Dissertations from 2000 - 2009 2000 2001 2002 2003 2005 2006 2007 2008 2009 Dissertations since 2010 2010 2013 2014 2015 2016 2018 2019 Dissertations since 2020 2020 2021 1939 Peter Sijer Hansen The Life and Works of Dominico Phinot (ca. 1510-ca. 1555) (under the direction of Glen Haydon) 1949 Willis Cowan Gates The Literature for Unaccompanied Solo Violin (under the direction of Glen Haydon) Gwynn Spencer McPeek The Windsor Manuscript, British Museum, Egerton 3307 (under the direction of Glen Haydon) Wilton Elman Mason The Lute Music of Sylvius Leopold Weiss (under the direction of Glen Haydon) 1950 Delbert Meacham Beswick The Problem of Tonality in Seventeenth-Century Music (under the direction of Glen Haydon) 1952 Allen McCain Garrett The Works of William Billings (under the direction of Glen Haydon) Herbert Stanton Livingston The Italian Overture from A. Scarlatti to Mozart (under the direction of Glen Haydon) 1953 Almonte Charles Howell, Jr. The French Organ Mass in the Sixteenth and Seventeenth Centuries (under the direction of Jan Philip Schinhan) 1955 George E.
    [Show full text]
  • Saxophone Concerto (2013) (32')
    April, 2020 ◎No. 1936 Subscription (Program A) ◎ ■John Adams (1947–) ■Saxophone Concerto (2013) (32') American composer John Adams was born in Worcester, Massachusetts in 1947. He became interested in composing at a relatively young age and started to write music in his early teens. He studied composition at Harvard University, earning a BA in 1969 and a MA in 1972. His teachers there include Leon Kirchner and Roger Sessions. In 1971, he moved to California and began teaching at the San Francisco Conservatory of Music. He received the Composer-in-Residence appointment with the San Francisco Symphony Orchestra in 1982. In 1987, Adams composed one of the most talked-about pieces of his early period, Nixon in China, an opera inspired by the historical visit of President Richard Nixon to China in 1972. Incidentally, the composition calls for a quartet of saxophones, instruments that are rarely utilized by composers of serious music. His other operas include his highly controversial The Death of Klinghoffer (1991), Doctor Atomic (2005), A Flowering Tree (2006), and Girls of the Golden West (2017). Adams composed his Saxophone Concerto in early 2013. Its first performance took place in Sydney on August 22 of the same year, with the composer conducting the Sydney Symphony Orchestra. The soloist was Timothy McAllister, who inspired Adams to write the piece. Adams had known the saxophonist since the time he composed his jazz- inflected symphonic work City Noir (2009). According to Adams, “His [McAllister’s] exceptional musical personality had been the key ingredient in performances and recordings.” For the performance of the Saxophone Concerto, Adams prefers the sound in the style of jazz playing over the so-called classical French manner.
    [Show full text]