DOCSLIB.ORG

November 1936) James Francis Cooke

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
November 1936) James Francis Cooke Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 11-1-1936 Volume 54, Number 11 (November 1936) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 54, Number 11 (November 1936)." , (1936). https://digitalcommons.gardner-webb.edu/etude/850 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. <TK‘xuiu:uiu.uik3iuMi,c/^mgi:;i' November 1936 Price 25 Cents MUSIC beginnings IMPORTANT ADDITIONS TO SUCCESSFULLY BY MANY TEACHERS USING THISI*«,, ARE GUIDED MODERN PIANO PEDAGOGY In Violin Classes In Piano Qasses In Priva te Lessons THE CLASS VIOLIN INSTRUCTOR MY FIRST EFFORTS IN THE PIANO CLASS • PIANO • •y A.. Hathjw,, tad Herbert Butli (Piano Class Book No. 1) MUSIC PLAY for EVERY DAY IN loom The Cateway to Piano Playing carfare -Irk hi, «rt. ft, ue A remarkable first book for classes of piano An introduction to the piano for pupils of beginners. Its application to practical class pro¬ pre-school or kindergarten eg" by eoep, OfKftl MARY LOUISE cedures Is simple. It is distinctive for original of fascinating pictures, tuneful "•l«<'«s arranged ct*.ev*, I, J^die el*Ek,... material, fascinating melodies, delightful rhythms, game-like procedures. Happy Dap in logical progression, immediate results Music Play" ($1.25). Its follow-up book. ****yC^rfLi!? a. TC** ‘ Mrll "* tying advancement. The start, of the pupil. In the same delightful men- BACON ROBYN at ^'Middle C," and the fun k Sik« F ibwals Trftk C dasT JJt Bfcft ner, well into the second grade. ¥oth books When the class has completed s are published also in A parts («0e ea.) for of "Making Progress in the Piano Class" (Piano convenience in class instruction. BOOK ONE BOOK TWO MASON Class Book. No. 2) (75c) and then to "Proficiency Price, $1.25 Student*! Book. 75c Stoats Boon 75. in the Plano Class" (Piano Class Book. No. 3), FOLKSONGS AND ROBYN-GURLITT (75c) the final book in the series. Taachcrt Manual. $1.00 Taachar'iMaaeal.SlOO beginner s book FAMOUS PICTURES Price, 75 cents Price, 75 cents SCHOOL FOR THE PIANO. VOL I Price, One Dollar By Theodore Prester ENSEMBLE METHOD FOR THE VIOLIN A fundamental pedal book. Eighty-five The familiar "red book" the* has startad By Oscar J. Lthrtr thousands of young pupils batwaan t and A most efficient and interesting method of the best Gurlitt numbers for develop¬ THE FIRST PERIOD AT THE PIANO 9 years of aga on fha road to piano play- TWt Mi *ob «*••• m(«n k cwm »♦***« rw uw* book. Its approach to notation, rhythm, ing. "Student's Book" (1.00) and "Player s boo* k«M *M« vw*« Mrti M “V* ing speed in reading. This book can be scales, chords, transposition and technic .ya started in the latter part of the first year is outstanding. of study. FIRST CLASSICS AND FIRST YEAR of 111. PIANO FOUNDATION FIRST FOLK S HARMONY IANGE0 FOB VlOLIt CHORD CRAFTERS Price, One Dollar '.arstor.tf A book that follows any good first grade Price, 75 cents keyboard harmony background. Estab¬ The third book of “Technic Tales” cov¬ lishes the best of transposition and crea¬ ering the eight pianistic chordal attacks. tive harmony work. Excellent for ear¬ RHYTHMICAL A B C'S FOR THE VIO All students regardless of their grade of training. Contains the widest selection of simple classics. advancement should study this book. §se?*3gs CHRISTMAS CAROLS Price, 75 cents In Voice Classes A fine collection of Christmas Carols, ROBYN-HANON containing thirty-four of the most popu¬ Price, 75 cents EDUCATIONALEDUC VOCAL 1 lar songs arranged for young piano IN SONG A! students. All large skips and difficult Students having covered properly the chords are eliminated. Every note is PIANO PATHWAYS By W. W. foregoing technic as found in “Technic gSr==SsSS fingered, thus enabling the pupil to learn Tales” Book I—46Fourteen Sketches”— Price, $1.00 the fingering first away from the piano. are now ready to start this wonderful book that carries students into the super¬ • VIOLIN • MARCHING MUSIC structure of piano technic. The book BEL CANTO METHOD FOR PLAYING AND SINGING should be reviewed from time to time for the violin i;js Price, 75 cents over a period of several years. It pre¬ There is no more attractive book of its pares for Haydn, Mozart, Bach, Beeth¬ kind available. Materials for grades n LET'S PLAY TOGETHER sMmSi- and III. Fine old tunes or humorous ones oven, Debussy, Chopin, Brahms and which have long been popular the LiszL world over. ft The above listed WORKS may be had ON APPROVAL FOR EXAMINATION from your dealer or the publisher. Theodore Presser Co. Examination Privilegei may be e«j«H by f music OLIVER DITSON COMPANY, Inc., 359 Boylston Street, Boston, Mass. o" «ny of fh. boob describe on *is f»9«' # and importers PHILADELPHIA, PA. Cloth Bound—Price, ♦o Preiser's for copies "On Approrel" of music publications in which NOVEMBER, 1936 675 The Etude Music Magazine nstmas Entertainment Materi^ _ _n.iolK' RECITALS W ^ »K.n FOR PUPILS' RECITALS r U. S. A. and Great FOR PROGRAMS BY YOUNG FOLK and_for_p- Songs for Rica, Luba, .Dominican Republic, Ecuador, Young Singers El Salvador, Guatemala, Mexico, Nicaragua, Fascinating _ ", *T"£«nt of the old German toy synn- Paraguay, Republic of Honduras, Spain, Peru and Uruguay. Canada, $2.25 per year. All Christmas Playlets phon^.^M^ny aprtmaryns^oo|rs ^have^weV^^PP®^^^1^ instruments Adapted for Group-Singing other countries, $3.00 per year. and Operettas— tnss ®\ ^rs.rir-K,i^ by (50e) i*** figgs 3S rOL ss ltzg: "umber f0r,or tria,ria"9le ' tamam ' r% (% THE COMING OF SANTA CLAUS, by Frank L. Eyer < 50c> \J9U9 ".v-^esS Ho! Sr. ... SLE1GH BELLS, by Paul Valdemar (50c) iP|p ££5* Sggt- Noel. Neel (No. 2577*1 'Yuletide 'Piano <SMnsic For Pupils’ Recital Programs Carol Collection —^SS—“ Christmas Carols for Trtbls Voices IS Tree (2) »« (2'/jJ SPECIAL NOTICES .! W: gSsSSSgp AND is Tree (Ift) (i'/ai" H&wTtleto* ANNOUNCEMENTS u*' iai. O Holy'''Wgtoe[sfyjtm-H?s's .' * Cjmuu for lb* Stbool Chons By WILLIAM BAINES | SPECIAL NOTICE S|£®5ftF is all in unison._ Christmas Bells (3) [ohnson.35 ssSSffisSH ThreIaLiltPe Chr'ltnf2] P**' (,) ' SSS=&|J|te::::: S iHSi!^ SssSais*®* The Waifs’ Christmas Stoge^M.".^* By Geo. F. Root Price, 40c 9 (Rental) $100 9 of Santa'(2) C “stSTsrsaj::.^.« Cute Recitations ANNOUNCEMENTS Judge Santa Claus By Geo. F. Root Price, 40c An unusually pretty and effective Christ¬ Christmas Ev. (No. mas ^operetta for ^ children, easily ^ pre- Christmas E TASIe“ghride( ,hrid.(3jc/^::::::::::; :S Pen if iL'^iylfW* Christmas Fi Christmas Spirit |No. 2M47| F-rrii ^ Pejfir.« INo. £,r,;.Tv.T\^infa,K * Santa Claus’ Party A Stray Lottos (No. 23W| ^ iia5~ By Louis F. Gottschalk Price, 10c PIANO—SIX HANDS s£S£j~~ (3) CW.. | Under the Mis Christmas Pieces (of IhTY^igViotoir Theodore Presser Co. CK,W™ l-». IN.- '»"« 'Ll 1712 CHESTNUT STREET. PHILADELPHIA •fcy 677 TTTF ETUDE HISTORICAL HURRY! order „S.CAL PORTRAIT SERIES Q^legro cJjjiniuaL BEFORE... An Alphabetical Serial Collection of . FOR SOLOISTS The World's Best Known Mus.c.ans . FOR CHORAL GROUPS ,s Jj began in Febr„ary, ,,3^has in=l^drtoJ^ctota^^-^S: OR YOU WILL FORTY NEGRO SPIRITUALS Arranged for Solo Voice MISS THE BENEFIT OF By Clarence Cameron White THESE SPECIAL CLUB OFFERS! There is an irresistible appeal in the music of the Amer¬ is the deadline for these bargain ican Negro and his traditional folk tunes, known as best values of the year in leading SPIRITUALS, dressed with modern piano accompani¬ id ^ with THE ETUDE. ^Subscriptions ments, have found their way into the recital programs of the greatest vocal artists. This volume contains the best of the better-known SPIRITUALS, and some SUBSCRIBE NOW WHEN YOU CAN SAVE MOST! unfamiliar but attractive ones, selected and arranged by Mr. White, who is considered by many the foremost violinist and composer of his race. The KcealelT'u8de. :::::: $J3o book is published in one key only, but the SPIRITUALS are within a medium Resularprica$3'°° la vocal range and singers with high, medium and low voices will all find many that they can use. CLOTH BOUND—Price, $2.00 Prise $3.00 }& \& womAN-sDwoBLb:::::: | $i:ih5 VOCAL SOLOS Re»ular »■»» a 1 Save 35e iaEEREiTcUADNEBov ::::::::::*?:§§ Cat. No. Voice I IH2 OpllMtOAD « YEARS) . .* LOT } jJ'jO 25133 Callin' Me (Dvorak).Wm. M. Felton Med. 5 R60Ul,r "rlt*. Regular prico . 15151 S.f.Toe 24182 Hear the Good News. C. C. White Med. X&I^g.rl 22877 I'm Not Weary Yet. Go in the Wilderness.E. Gest Low $1:60 «&m..: j|15 *3.50 30340 I'm So Glad Trouble Don't Last Alway.R. N. Dett Med. 25334 I'se Got Religion.R. Hill Low CHRllflANEHERALD".:!) *2)00 30341 Somebody's Knockin' at Your Door.R. N. Dett Low Save $1.25 f $1.50 R'"u,ar . *•«» R«»ular arl“ 33.00 18146 Soon-A Will He Done.J.
Load more

Recommended publications
  • Leonard Slatkin at 70: the DSO's Music Director Was Born for The
    Leonard Slatkin at 70: The DSO’s music director was born for the podium By Lawrence B. Johnson Some bright young musicians know early on that they want to be a conductor. Leonard Slatkin, who turned 70 Slatkin at 70: on September 1, had a more specific vision. He believed himself born to be a music director. Greatest Hits “First off, it was pretty clear that I would go into conducting once I had the opportunity to actually lead an orchestra,” says Slatkin, music director of the Detroit Symphony Orchestra since 2008 and occupant of the same post with the Orchestre National de Lyon since 2011. “The study process suited my own ethic and, at least for me, I felt relatively comfortable with the technical part of the job.” “But perhaps more important, I knew that I would also be a music director. Mind you, this is a very different job from just getting on the podium and waving your arms. The decision making process and the ability to shape a single ensemble into a cohesive whole, including administration, somehow felt natural to me.” Slatkin arrived at the DSO with two directorships already under his belt – the Saint Louis Symphony (1979-96) and the National Symphony in Washington, D.C. (1996-2008) – and an earful of caution about the economically distressed city and the hard-pressed orchestra to which he was being lured. But it was a challenge that excited him. “Almost everyone warned me about the impending demise of the orchestra,” the conductor says. “A lot of people said that I should not take it.
    [Show full text]
  • ARSC Journal, Spring 1992 69 Sound Recording Reviews
    SOUND RECORDING REVIEWS Chicago Symphony Orchestra: The First Hundred Years CS090/12 (12 CDs: monaural, stereo; ADD)1 Available only from the Chicago Symphony Orchestra, 220 S. Michigan Ave, Chicago, IL, for $175 plus $5 shipping and handling. The Centennial Collection-Chicago Symphony Orchestra RCA-Victor Gold Seal, GD 600206 (3 CDs; monaural, stereo, ADD and DDD). (total time 3:36:3l2). A "musical trivia" question: "Which American symphony orchestra was the first to record under its own name and conductor?" You will find the answer at the beginning of the 12-CD collection, The Chicago Symphony Orchestra: The First 100 Years, issued by the Chicago Symphony Orchestra (CSO). The date was May 1, 1916, and the conductor was Frederick Stock. 3 This is part of the orchestra's celebration of the hundredth anniversary of its founding by Theodore Thomas in 1891. Thomas is represented here, not as a conductor (he died in 1904) but as the arranger of Wagner's Triiume. But all of the other conductors and music directors are represented, as well as many guests. With one exception, the 3-CD set, The Centennial Collection: Chicago Symphony Orchestra, from RCA-Victor is drawn from the recordings that the Chicago Symphony made for that company. All were released previously, in various formats-mono and stereo, 78 rpm, 45 rpm, LPs, tapes, and CDs-as the technologies evolved. Although the present digital processing varies according to source, the sound is generally clear; the Reiner material is comparable to RCA-Victor's on-going reissues on CD of the legendary recordings produced by Richard Mohr.
    [Show full text]
  • Royal Umd 0117E 18974.Pdf (465.4Kb)
    ABSTRACT Title of Dissertation: SELECTED WORKS OF COMPOSERS ASSOCIATED WITH HOWARD UNIVERSITY Guericke Christopher Royal, Doctor of Musical Arts, 2018 Dissertation directed by: Professor Chris Gekker School of Music Throughout its over 100 year history, Howard University has produced and attracted many talented composers of many musical genres. Limiting this project to any one genre or focus would have lessened the overall impact of the music they created and the inspiration that has been a lauded part of the institution. The project will demonstrate the various harmonic, melodic, rhythmic and emotional contributions of the selected composers through interpretation of their music on the trumpet. Composers have been connected to the university in three general ways: as students, alumni and faculty; as commissioned artists; and through the performance of their works by notable performers associated with Howard. The pieces selected for this project exemplify a wide range of musical expressions and compositional techniques, and hopefully have been presented in a way that allows the emotional impact of each piece to resonate in a unique fashion. The selected works tended to fall into the categories of A. Trumpet and Brass Works B. Spirituals/ Meditational/ Religious Works C. Popular and Jazz Pieces D. Organ or other Instrumental Works E. Works of Historical Reference or Significance In some cases, certain pieces may be categorized across multiple categories (e.g. an organ piece based on religious material). As this was also a recording project, great care was taken during the recording process to capture as much emotional content as possible through stereo microphone techniques and the use of high quality equipment.
    [Show full text]
  • Nina Clemens Gabrilowitsch, 55, Twain's Last Direct Heir, Dies
    Nina Clemens Gabrilowitsch dies Home | Quotations | Newspaper Articles | Special Features | Links | Search The New York Times, January 19, 1966 Nina Clemens Gabrilowitsch, 55, Twain's Last Direct Heir, Dies LOS ANGELES, Jan. 18 (AP) - The county Coroner's office reported today that Miss Nina Clemens Gabrilowitsch, the last direct descendant of Mark Twain, had died Sunday. She was 55 years old. Miss Clemens was found dead in her room at a Los Angeles motel where she often stayed. Several bottles of pills and alcohol were found in the room, the police said. An autopsy was planned. A Los Angeles bartender said today that Miss Clemens had quipped to him on Saturday night: "When I die, I want artificial flowers, jitterbug music and a bottle of vodka at my grave." She was the granddaughter of Twain, whose real name was Samuel Langhorne Clemens. She preferred to use the writer's family name rather than her own. Miss Clemens, who was born four months after her grandfather died, once said that although she had never known him she knew his works "backwards and forwards." Miss Clemens was the daughter of Twain's daughter, Mrs. Clara Langhorne Clemens Samoussoud, and Clara's first husband, Ossip Gabrilowitsch. Mr. Gabrilowitsch was conductor of the Detroit Symphony Orchestra from 1919 until his death in 1936. Miss Clemens's mother died in San Diego on Nov. 19, 1962. A family attorney, Al Matthews, said Miss Clemens had lived on the income of Twain's estate, which he estimated at about $2-million. He said Miss Clemens had an income of $1,500 a month after taxes.
    [Show full text]
  • December 1940) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 12-1940 Volume 58, Number 12 (December 1940) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 58, Number 12 (December 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/59 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. —— THE ETUDE Price 25 Cents mueie magazine i — ' — ; — i——— : ^ as&s&2i&&i£'!%i£''££. £&. IIEHBI^H JDiauo albums fcj m Christmas flarpms for JfluStc Jfolk IS Cljiistmas iSnraaiitS— UNTIL DECEMBER 31, 1940 ONLY) (POSTPAID PRICES GOOD CONSOLE A Collection Ixecttalist# STANDARD HISTORY OF AT THE — for £111 from Pegtnner# to CHILD’S OWN BOOK OF of Transcriptions from the Masters Revised Edition PlAVUMfl MUSIC—Latest, GREAT MUSICIANS for the Pipe Organ or Electronic DECEMBER 31, 1940 By James Francis Cooke Type of Organ Compiled and MYllfisSiiQS'K PRICES ARE IN EFFECT ONLY UP TO By Thomas
    [Show full text]
  • Department Historyrevised Copy
    The Music Department of Wayne State University A History: 1994-2019 By Mary A. Wischusen, PhD To Wayne State University on its Sesquicentennial Year, To the Music Department on its Centennial Year, and To all WSU music faculty and students, past, present, and future. ii Contents Preface and Acknowledgements ……………………………………………………………………...........v Abbreviations ……………………………………………………………………………............................ix Dennis Tini, Chair: 1993-2005 …………………………………………………………………………….1 Faculty .…………………………………………………………………………..............................2 Staff ………………………………………………………………………………………………...7 Fundraising and Scholarships …………………………………………………................................7 Societies and Organizations ……………………………………………..........................................8 New Music Department Programs and Initiatives …………………………………………………9 Outreach and Recruitment Programs …………………………………………….……………….15 Collaborative Programs …………………………………………………………………………...18 Awards and Honors ……………………………………………………………………………….21 Other Noteworthy Concerts and Events …………………………………………………………..24 John Vander Weg, Chair: 2005-2013 ………………………………………………................................37 Faculty………………………………………………………………..............................................37 Staff …………………………………………………………………………………………….....39 Fundraising and Scholarships …………………………………………………..............................40 New Music Department Programs and Initiatives ……………………………………………..…41 Outreach and Recruitment Programs ……………………………………………………………..45 Collaborative Programs …………………………………………………………………………...47 Awards
    [Show full text]
  • CHICAGO SYMPHONY ORCHESTRA RADIO BROADCASTS Broadcast Schedule – Fall 2018
    CHICAGO SYMPHONY ORCHESTRA RADIO BROADCASTS Broadcast Schedule – Fall 2018 PROGRAM #: CSO 18-40 RELEASE DATE: September 28, 2018 Riccardo Muti conducts Bruckner's Fourth Symphony Rossini: Overture to William Tell Ogonek: All These Lighted Things Bruckner: Symphony No. 4 in E-flat Major, “Romantic” Prokofiev: Symphony No. 1 in D Major, Op. 25 PROGRAM #: CSO 18-41 RELEASE DATE: October 5, 2018 Riccardo Muti conducts Schubert Mass in E-flat Major Weber: Overture to Oberon Raimi: Three Lisel Mueller Settings (Elizabeth Deshong, mezzo-soprano, world premiere) Schubert: Mass No. 6 in E-flat Major, D. 950 (Chicago Symphony Chorus, Duain Wolfe, director; Amanda Forsythe, soprano; Elizabeth Deshong, mezzo- soprano; Paul Appleby, tenor; Nicholas Phan, tenor; Nahuel di Pierro, bass) Wagner: Siegfried's Rhine Journey from Götterdämmerung (Fritz Reiner, conductor) PROGRAM #: CSO 18-42 RELEASE DATE: October 12, 2018 Edo de Waart conducts Beethoven Mozart: Symphony No. 38 in D Minor, K. 504, “Prague” (Daniel Gingrich, horn) Mozart: Horn Concerto No. 3 in E-flat Major, K. 447 (Daniel Gingrich, horn) Beethoven: Symphony No. 2 in D Major, Op. 36 (Daniel Gingrich, horn) Strauss: Metamorphosen (Daniel Gingrich, horn) PROGRAM #: CSO 18-43 RELEASE DATE: October 19, 2018 Giovanni Antonini conducts Classical and Baroque Treasures Boccherini: Symphony No. 6 in D Minor, G. 506, Op. 12, No. 4, “La casa del diavolo” Vivaldi: Mandolin Concerto in C Major, RV 425 (Avi Avital, mandolin) Bach: Mandolin Concerto in D Minor, BWV 1052 (Avi Avital, mandolin) Traditional Bulgarian, arr. Avital: Bucimis (Avi Avital, mandolin) Vivaldi: Mandolin Concerto in C Major, RV 425 (Giovanni Antonini, flauntino) Haydn: Symphony No.
    [Show full text]
  • American Spiritual Program Fall 2009
    Saturday, September 26, 2009 • 7:30 p.m. Asbury United Methodist Church • 1401 Camden Avenue, Salisbury Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music influenced by the spiritual. This concert is sponsored by The Peter and Judy Jackson Music Performance Fund;SU President Janet Dudley-Eshbach; Provost and Senior Vice President of Academic Affairs Diane Allen; Dean Maarten Pereboom, Charles R. and Martha N. Fulton School of Liberal Arts; Dean Dennis Pataniczek, Samuel W. and Marilyn C. Seidel School of Education and Professional Studies; the SU Foundation, Inc.; and the Salisbury Wicomico Arts Council. THE AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM THE SPIRITUAL Walk Together, Children ..........................................................................................arr. William Henry Smith Jacob’s Ladder ..........................................................................................................arr. Harry Robert Wilson Angelique Clay, Soprano Soloist Plenty Good Room ..................................................................................................arr. William Henry Smith Go Down, Moses ............................................................................................................arr. Harry T. Burleigh Frederick Jackson, Bass-Baritone Is There Anybody Here? ....................................................................................................arr.
    [Show full text]
  • Concert & Recital Programs Concert & Recital Programs
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 11-10-2012 Concert: The Thirty-Fourth Annual Ithaca College Choral Composition Contest Ithaca College Choir Lawrence Doebler Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Choir and Doebler, Lawrence, "Concert: The Thirty-Fourth Annual Ithaca College Choral Composition Contest" (2012). All Concert & Recital Programs. 4058. https://digitalcommons.ithaca.edu/music_programs/4058 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. THE THIRTY-FOURTH ANNUAL ITHACA COLLEGE CHORAL COMPOSITION CONTEST Sponsored jointly by Ithaca College and Roger Dean Publishing Company Ford Hall Saturday November 10th, 2012 7:00 pm ITHACA COLLEGE THIRTY-FOURTH ANNUAL CHORAL COMPOSITION CONTEST AND FESTIVAL Sponsored jointly by Ithaca College and Roger Dean Publishing Company Professor Lawrence Doebler founded the Choral Composition Festival in 1979 to encourage the creation and performance of new choral music and to establish the Ithaca College Choral Series. Six scores were chosen for performance this evening from entries submitted from around the world. The piece …to balance myself upon a broken world (September, 1918) (Amy Lowell) by Paul Carey was commissioned by Ithaca College and
    [Show full text]
  • Jubilee Singers Archives 1858-1924 Reprocessed by Aisha M. Johnson Special Collections Librarian Fisk University September 2013
    Jubilee Singers Archives 1858-1924 Reprocessed by Aisha M. Johnson Special Collections Librarian Fisk University September 2013 Background: The tradition of excellence at Fisk has developed out of a history marked by struggle and uncertainty. The Fisk Jubilee Singers originated as a group of students who set out on a concert tour of the North on October 6, 1871 to save a financially ailing school. Their ages ranged from fifteen to twenty-five years old. The idea to form the group was conceived by George L. White, the University’s treasurer, against the disapproval of the University. White borrowed money for the tour. In the beginning, the group met with failure, singing classical and popular music. When they began to sing slave songs, they bought spirituals to the attention of the world during their national and European concerts. It was White who gave them the name Jubilee Singers in memory of the Jewish Year of Jubilee. The original Jubilee Singers (1871) are Minnie Tate, Greene Evans, Isaac Dickerson, Jennie Jackson, Maggie Porter, Ella Sheppard, Thomas Rutling, Benjamin Holmes, Eliza Walker, and George White as director. The Singers raised $150,000, which went to the building of Jubilee Hall, now a historic landmark. Today, the tradition of the Jubilee Singers continues at Fisk University. On October 6th of every year, Fisk University pauses to observe the anniversary of the singers' departure from campus in 1871. The contemporary Jubilee Singers perform during the University convocation and conclude the day's ceremonies with a pilgrimage to the grave sites of the original Jubilee Singers to sing.
    [Show full text]
  • 2011 – Cincinnati, OH
    Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers.
    [Show full text]
  • Table of Contents Introduction 1
    PREJUDICE AND PATRIOTISM: FREDERICK STOCK, ANTI-GERMANISM, AND AMERICAN MUSIC IN WORLD WAR I Anna Moir April 23, 2009 HIST400: History Senior Thesis, Haverford College ABSTRACT In this thesis, I am examining the anti-German sentiment that swept through American society during World War I, with a focus on its impact on the classical music community. When the United States entered the fighting in 1917, the government had to create a sense of purpose, unity, and national identity among the public in order to organize an effective war effort and overcome the country’s lack of both preparation and compelling reasons to be involved in the conflict at all. To achieve this, the new Committee on Public Information organized a large- scale propaganda campaign to encourage a combination of unwavering nationalism and fear of the enemy, specifically the Germans. The propaganda was effective to the point where extreme paranoia took over the nation, and people began to stigmatize anything that was even remotely connected with Germany. In addition, the government and its propaganda created such a conformist environment that dissenters of any kind, German or otherwise, faced persecution and incarceration. Laws passed during that time took away many basic civil liberties such as freedom of speech and right to privacy, so it was even easier to identify and catch anybody who was even remotely critical of the war or the United States in general. At the same time, music had become intertwined with wartime politics and could not escape the irrational prejudice that had pervaded the nation. Germany had traditionally provided the greatest influence of any country on the development of a musical identity in the United States, but in the war, many Americans chose to link its artistic identity with its politics and militarism.
    [Show full text]