Percy Grainger: the Passionate Folklorist and Ethnomusicologist
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A History of Music Education in New Zealand State Primary and Intermediate Schools 1878-1989
CHRISTCHURCH COLLEGE OF EDUCATION LIBRARY A HISTORY OF MUSIC EDUCATION IN NEW ZEALAND STATE PRIMARY AND INTERMEDIATE SCHOOLS 1878-1989 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the University of Canterbury by Susan P. Braatvedt B.A. (Natal), Dip.Arts (Auckland), B.A.Rons (Canterbury) VOLUME II University of Canterbury 2002 Chapter Five 1950-1968 266 The growth ofschool music Chapter Five 1950 -1968 The growth of school music "music is fmnly established as an integral part of the school curriculum."l 5.1 Introduction This 18-year period was dominated by the National Party except for one term when Labour was voted back into office from 1958? When the National Party took office in December 1949, they inherited an educational system in which school music had not been particularly well served. Robert Chapman comments: The underlying changes in the golden 1960s were social rather than political, technological rather than legislative, individual rather than public ....The tertiary education boom, television, and the contraceptive pill were transforming family and personal relationships as well as the method by which politics were perceived. Government expenditure underwrote the surging development of health and education ... 3 In chapter one section 1.2 it was pointed out that the influence of English music education endured for many years. It is in this period that we begin to see a development of a more innovative approach which was more eclectic in its character. 1 AE. Campbell, Director-General of Education, AJHR. E-1, 1966, p.17. 2 R Chapman, 'From Labour to National,' The Oxford History ofNew Zealand, W.H. -
In Concert AUGUST–SEPTEMBER 2012
ABOUT THE MUSIC GRIEG CONCERTO /IN CONCERT AUGUST–SEPTEMBER 2012 GRIEG CONCERTO 30 AUGUST–1 SEPTEMBER STEPHEN HOUGH PLAYS TCHAIKOVSKY 14, 15 AND 17 SEPTEMBER TCHAIKOVSKY’S PATHÉTIQUE 20–22 SEPTEMBER ENIGMA VARIATIONS 28 SEPTEMBER MEET YOUR MSO MUSICIANS: SYLVIA HOSKING AND MICHAEL PISANI PIERS LANE VISITS GRIEG’S BIRTHPLACE STEPHEN HOUGH ON TCHAIKOVSKY’S PIANO CONCERTO NO.2 SIR ANDREW DAVIS HAILS THE NEW HAMER HALL twitter.com/melbsymphony facebook.com/melbournesymphony IMAGE: SIR ANDREW Davis CONDUCTING THE MELBOURNE SYMPHONY ORCHESTRA Download our free app 1 from the MSO website. www.mso.com.au/msolearn THE SPONSORS PRINCIPAL PARTNER MSO AMBASSADOR Geoffrey Rush GOVERNMENT PARTNERS MAESTRO PARTNER CONCERTMASTER PARTNERS MSO POPS SERIES REGIONAL TOURING PRESENTING PARTNER PARTNER ASSOCIATE PARTNERS SUPPORTING PARTNERS MONASH SERIES PARTNER SUPPLIERS Kent Moving and Storage Quince’s Scenicruisers Melbourne Brass and Woodwind Nose to Tail WELCOME Ashton Raggatt McDougall, has (I urge you to read his reflections been reported all over the world. on Grieg’s Concerto on page 16) and Stephen Hough, and The program of music by Grieg conductors Andrew Litton and and his friend and champion HY Christopher Seaman, the last of Percy Grainger that I have the whom will be joined by two of the privilege to conduct from August finest brass soloists in the world, otograp 29 to September 1 will be a H P Radovan Vlatkovic (horn) and wonderful opportunity for you to ta S Øystein Baadsvik (tuba), for our O experience all the richness our C special Town Hall concert at the A “new” hall has to offer. -
Download Booklet
PIANISTS, PSYCHIATRISTS AND PIANO CONCERTOS Sergei Rachmaninov (1873-1943) Piano Concerto No. 2 in C minor, Op. 18 “I play all the right notes, but not necessarily in the right order.” That flat-G-C-G, whereas his right could easily encompass C (2nd finger!)-E 1 Moderato 11. 21 2 Adagio sostenuto 12. 03 was how Eric Morecambe answered the taunt of conductor ‘Andrew (thumb)-G-C-E. 3 Allegro scherzando 11. 51 Preview’ (André Previn), who was questioning his rather ‘unusual’ treat- Yet although Rachmaninoff appeared to be a born pianist, he had ment of the introductory theme of Edvard Grieg’s Piano Concerto. set his heart on a career as composer and conductor. Only after fleeing Edvard Grieg (1843-1907) Nowadays, the sketch from the 1971 Christmas show of the famous from Russia following the outbreak of the revolution, did he realise that Piano Concerto in A minor, Op. 16 comedy duo Morecambe and Wise has attained cult status and can be he would not be able to earn a living as a composer, that his lack of tech- 4 Allegro molto moderato 13. 43 viewed on the Internet. Many years later, Previn let slip that taxi-drivers nique would impede a career as a conductor, and that the piano could 5 Adagio 6. 34 still regularly addressed him as ‘Mr Preview’. In fact, the sketch was not well play a much larger role in his life. The many recordings (including 6 Allegro moderato molto e marcato 10. 51 the first to parody Grieg’s indestructible concerto: that honour belongs all his piano concertos and his Paganini Rhapsody) that form a resound- to Franz Reizenstein, with his Concerto Popolare dating from 1959. -
Mary Neal and the Esperance Morrice
-~ CONTENTS American Morris Newsletter, Repri nt Series. NO. 2 page 1 Maty Neal and the Esperance Morris by Roy Judge This article first appeared in Folk Music Journal 1989 Volume 5, Number 5, pp. 545-591 reprinted here by permission ofthe author and the F MJ editorial board COVER PHOTO: Mary Neal Photograph 1cindly provided by Antony MacIlwaine American Morris Newsletter Reprint Series is an annual supplement to the American Morris Newsletter. It is available as part of the regular subscription to the Newsletter. American Morris Newsletter is published three times a year in Reprint Series No.2 MarchiApril, July/August, and November/Decem ber. Supplements include the Annual Directory of Morris Sides in North America and The AMN 1993 Reprint Series. Subscription rates are $10.00/year or $17.00/two year subscription for an individual, or, at a bylk rate of $8.50/copy for a For this second Reprint Series, AMN presents the work of English minimum of six copies mailed. to the same address. Overseas subscribers add scholar Roy Judge. This article is the seminal scholarship to-date on the $4.00. All checks should be in USA cunency, made payable to, and mailed work of Mary Neal and the Esperance Morris. The victors write the history to: American Morris Newsletter, c/o James C. Brickwedde, 3101 11th booles. Mary Neal and her work bas remained clouded in obscurity as the Ave. South, Minneapolis, Minnesota 55407; (612)721-8750. English Folk Dance Society, the organization established by Cecil Sharp, Editor of the newslener is James C. -
News from the Collections
News from the collections Grainger Museum reopening Melbourne Conservatorium of The Grainger Museum officially Music; Dr Peter Tregear of Monash re-opened on Friday 15 October, University; and Brian Allison and following a seven-year closure. Astrid Krautschneider, Curators of Over the past few years substantial the Grainger Museum. conservation works were carried out The Grainger Museum is located on the heritage-registered building on Royal Parade, near Gate 13, under the supervision of conservation Parkville Campus. The opening architects Lovell Chen, along with hours are Tuesday to Friday 1pm to improvements to the facilities for 4.30pm and Sunday 1pm to 4.30pm. visitors, collections and staff. The new Closed Monday and Saturday, public suite of exhibitions, curated by the holidays and Christmas through Grainger Museum staff and designed January. Percy’s Café is open 8am to by Lucy Bannyan of Bannyan Wood 5pm, Monday to Friday. For further Design, explore Grainger’s life, times information or to join the mailing list and work. Funding was provided see www.grainger.unimelb.edu.au. by the University, the University Library, the University Annual MacPherson, Ormond Professor of G.W.L. Marshall-Hall: Appeal, bequests and donors. The Music and Director of the Melbourne A symposium guest speaker at the launch was Conservatorium of Music. Professor The collections of the Grainger Professor Malcolm Gillies, Vice- Gillies’ keynote paper ‘Grainger Museum provide an invaluable Chancellor of London Metropolitan 50 years on’ explored Percy Grainger’s research resource that extend far University and a leading Grainger current place in both the world of beyond the life and music of Percy scholar. -
Percy Grainger, Frederick Delius and the 1914–1934 American ‘Delius Campaign’
‘The Art-Twins of Our Timestretch’: Percy Grainger, Frederick Delius and the 1914–1934 American ‘Delius Campaign’ Catherine Sarah Kirby Submitted in total fulfilment of the requirements of the degree of Master of Music (Musicology) April 2015 Melbourne Conservatorium of Music The University of Melbourne Produced on archival quality paper Abstract This thesis explores Percy Grainger’s promotion of the music of Frederick Delius in the United States of America between his arrival in New York in 1914 and Delius’s death in 1934. Grainger’s ‘Delius campaign’—the title he gave to his work on behalf of Delius— involved lectures, articles, interviews and performances as both a pianist and conductor. Through this, Grainger was responsible for a number of noteworthy American Delius premieres. He also helped to disseminate Delius’s music by his work as a teacher, and through contact with publishers, conductors and the press. In this thesis I will examine this campaign and the critical reception of its resulting performances, and question the extent to which Grainger’s tireless promotion affected the reception of Delius’s music in the USA. To give context to this campaign, Chapter One outlines the relationship, both personal and compositional, between Delius and Grainger. This is done through analysis of their correspondence, as well as much of Grainger’s broader and autobiographical writings. This chapter also considers the relationship between Grainger, Delius and others musicians within their circle, and explores the extent of their influence upon each other. Chapter Two examines in detail the many elements that made up the ‘Delius campaign’. -
Church and Organ Music. Rhythm in Hymn-Tunes Author(S): C
Church and Organ Music. Rhythm in Hymn-Tunes Author(s): C. F. Abdy Williams Source: The Musical Times, Vol. 62, No. 938 (Apr. 1, 1921), pp. 275-278 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/909413 Accessed: 03-05-2016 18:20 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times This content downloaded from 128.197.26.12 on Tue, 03 May 2016 18:20:53 UTC All use subject to http://about.jstor.org/terms THE MUSICAL TIMES-APRIL I 192I 275 Caruso pours out his voice lavishly as ever in 'A Granada'-in fact he pours out so much of it Cbthlch anli b rgant fluic. that in a small room one instinctively looks round THE ROYAL COLLEGE OF ORGANISTS for shelter. This stirring record owes a good deal to the excellent orchestral part, in which some The following letter has been sent to the stout work is done by the castanets. members: That fine baritone, Titto Ruffo, is heard to advan- The Royal College of Organists, tage in 'Nemico della patria?' ('Andrea Ch6nier'). -
2018 Annual Report
2018 annual report 1 AMaGA Victoria Contents About Australian Museums and Galleries Association Victoria About the Australian Museums and Galleries Association Victoria ......................................................2 Mission: Enabling museums and their Treasurer’s Report ..................................................................................................................................3 President’s Report ..................................................................................................................................4 people to develop their capacity to inspire Executive Director’s Report ................................................................................................................ 5-6 and engage their communities. Management ....................................................................................................................................... 7-8 Awards, Forum and Events .............................................................................................................. 9-10 Statement of Purpose Membership Forum in Melbourne. Both are curated to Communications ...................................................................................................................................11 Australian Museums and Galleries AMaGA Victoria represents approximately appeal to a broad audience, from large Association Victoria, provides professional one third of AMaGA’s total membership. It State institutions to small volunteer-run INSITE ...................................................................................................................................................12 -
ISME History Summary (English): Toward a Global Community: the History of the International Society for Music Education 1953-2003 by Marie Mccarthy
Toward a Global Community: The International Society for Music Eduction 1953-2003 by Marie McCarthy Celebrating 50 years 1953–2003 ISME History Summary (English): Toward a Global Community: The History of the International Society for Music Education 1953-2003 by Marie McCarthy Greetings On July 9, 2003, ISME celebrates 50 years since it was established in Brussels, Belgium, in 1953. It has been my privilege and honour to have been associated with ISME since its formation. A history such as this puts the work and achievements of the Society into perspective; it gives us an opportunity for reflection, and to acknowledge the contributions of so many loyal members and major organisations which have been players in the development of the Society. There could be no better choice of author to write this history than Marie McCarthy, who in its preparation has shown a deep interest and dedication to the task. This history is one of the many exciting projects celebrating the Golden Jubilee of ISME, and I commend it to you, the reader. Share it with colleagues and pass on the torch to your students who are the future of the Society. Encourage them to continue to work to uphold the fine aims and ideals of ISME. Frank Callaway Honorary President, ISME February 2003 Preface and Acknowledgments The idea of writing this history originated in the mind of then Honorary President, Sir Frank Callaway, to whom this book is dedicated. He approached me with the idea at the biennial conference in Amsterdam in 1996, and I am indebted to him for constant support and guidance right up to the end of his life. -
The Grainger Museum in Its Museological and Historical Contexts
THE GRAINGER MUSEUM IN ITS MUSEOLOGICAL AND HISTORICAL CONTEXTS Belinda Jane Nemec Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy February 2006 The Australian Centre The University of Melbourne Produced on archival quality paper ABSTRACT This thesis examines the Grainger Museum at the University of Melbourne in the context of the history of museums, particularly those in Europe, the United States and Australia, during the lifetime of its creator, Percy Aldridge Grainger (1882–1961). Drawing on the collection of the Grainger Museum itself, and on both primary and secondary sources relating to museum development in the late nineteenth and first half of the twentieth centuries, the thesis demonstrates that the Grainger Museum reflects many of the concerns of museums of Grainger’s day, especially of the years prior to his relocation to the United States in 1914. Many of those concerns were products of the nationalistic endeavours arising from political upheavals and redefinitions in nineteenth-century Europe, the imperialism which reached its zenith by the First World War, and the racialist beliefs, hierarchies and anxieties accompanying that imperialism. In particular, Grainger’s lifelong concern with racial identity manifested in hierarchical and evolutionary museum interpretations typical of his earlier years. I explore the paradox of Grainger’s admiration for the musical and material culture of the racial ‘other’ and his racially supremacist views, and the way he presented these two apparently conflicting ideologies in his Museum. In elucidating Grainger’s motives for establishing a museum, I argue that Grainger was raised in a social and cultural milieu in which collecting, classifying and displaying cultural material was a popular practice. -
An Introductory Survey on the Development of Australian Art Song with a Catalog and Bibliography of Selected Works from the 19Th Through 21St Centuries
AN INTRODUCTORY SURVEY ON THE DEVELOPMENT OF AUSTRALIAN ART SONG WITH A CATALOG AND BIBLIOGRAPHY OF SELECTED WORKS FROM THE 19TH THROUGH 21ST CENTURIES BY JOHN C. HOWELL Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. __________________________________________ Mary Ann Hart, Research Director and Chairperson ________________________________________ Gary Arvin ________________________________________ Costanza Cuccaro ________________________________________ Brent Gault ii ACKNOWLEDGMENTS I am indebted to so many wonderful individuals for their encouragement and direction throughout the course of this project. The support and generosity I have received along the way is truly overwhelming. It is with my sincerest gratitude that I extend my thanks to my friends and colleagues in Australia and America. The Australian-American Fulbright Commission in Canberra, ACT, Australia, gave me the means for which I could undertake research, and my appreciation goes to the staff, specifically Lyndell Wilson, Program Manager 2005-2013, and Mark Darby, Executive Director 2000-2009. The staff at the Sydney Conservatorium, University of Sydney, welcomed me enthusiastically, and I am extremely grateful to Neil McEwan, Director of Choral Ensembles, and David Miller, Senior Lecturer and Chair of Piano Accompaniment Unit, for your selfless time, valuable insight, and encouragement. It was a privilege to make music together, and you showed me how to be a true Aussie. The staff at the Australian Music Centre, specifically Judith Foster and John Davis, graciously let me set up camp in their library, and I am extremely thankful for their kindness and assistance throughout the years. -
Lincolnshire Posy Abbig
A Historical and Analytical Research on the Development of Percy Grainger’s Wind Ensemble Masterpiece: Lincolnshire Posy Abbigail Ramsey Stephen F. Austin State University, Department of Music Graduate Research Conference 2021 Dr. David Campo, Advisor April 13, 2021 Ramsey 1 Introduction Percy Grainger’s Lincolnshire Posy has become a staple of wind ensemble repertoire and is a work most professional wind ensembles have performed. Lincolnshire Posy was composed in 1937, during a time when the wind band repertoire was not as developed as other performance media. During his travels to Lincolnshire, England during the early 20th century, Grainger became intrigued by the musical culture and was inspired to musically portray the unique qualities of the locals that shared their narrative ballads through song. While Grainger’s collection efforts occurred in the early 1900s, Lincolnshire Posy did not come to fruition until it was commissioned by the American Bandmasters Association for their 1937 convention. Grainger’s later relationship with Frederick Fennell and Fennell’s subsequent creation of the Eastman Wind Ensemble in 1952 led to the increased popularity of Lincolnshire Posy. The unique instrumentation and unprecedented performance ability of the group allowed a larger audience access to this masterwork. Fennell and his ensemble’s new approach to wind band performance allowed complex literature like Lincolnshire Posy to be properly performed and contributed to establishing wind band as a respected performance medium within the greater musical community. Percy Grainger: Biography Percy Aldridge Grainger was an Australian-born composer, pianist, ethnomusicologist, and concert band saxophone virtuoso born on July 8, 1882 in Brighton, Victoria, Australia and died February 20, 1961 in White Plains, New York.1 Grainger was the only child of John Harry Grainger, a successful traveling architect, and Rose Annie Grainger, a self-taught pianist.