Against Expression?: Avant-Garde Aesthetics in Satie's" Parade"
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Yvar Mikhashoff Collection of Transcriptions - Music Library - University at Buffalo Libraries
11/21/2017 Yvar Mikhashoff Collection of Transcriptions - Music Library - University at Buffalo Libraries University at Buffalo Music Library Yvar Mikhashoff Collection of Transcriptions: Preliminary Inventory (Mus. Arc. 1.3) List prepared by Matthew J. Sheehy as part of An Annotated Catalogue of the Yvar Emilian Mikhashoff Musical Compositions and Transcriptions in the Music Library, SUNY at Buffalo: ML410.M66AXS54 1998 Indexes of titles and authors of texts available in print version. Anonymous May 23 197? Americana Seige of Tripoli Chamber Orchestra Parts: 10 parts, 12 x 9, holographs (pencil) Sketch: 21l., 12.5 x 8.5, published score (photocopies, annotations) Federal Medley Chamber Orchestra Parts: 11 parts, 12 x 9, holograph (ink) Sketch: 11l., 12 x 9, published score (photocopy, annotations) and holographs (pencil) James Sellars is credited as a transcriber on the Federal Medley.'Marked Copenhagen. Box: T 1, no. T 1 Anonymous Folk songs. Source material: 8l., 11 x 8.5, photocopies Not annotated, appears to be Sicilian folk songs. Box: T 1, no. T 2 Bach, Johann Sebastian Es ist genug Piano 1l., 10 x 7, holograph (ink), incomplete, "Fuga a 4" 2l., 12 x 9, holograph (pencil), incomplete, "Chorale-prelude based on the choral theme" Signed "MacKay" Box: T 1, no. T 3 Bach, Johann Sebastian Suite no. 4 for flute. Allegro Piano 1l., 12.5 x 9.5, holograph (pencil), file:///Y:/Music/archives/Mikhashoff/mikhashoff_transcriptions.html 1/20 11/21/2017 Yvar Mikhashoff Collection of Transcriptions - Music Library - University at Buffalo Libraries "For William Poppmann, Xmas 1971." Box: T 1, no. T 4 Bach, Johann Sebastian Well-Tempered Clavier, book 1, fugue XVI Orchestra Score: 9l., 12 x 9, holograph (pencil) Box: T 1, no. -
A Sheffield Hallam University Thesis
How do I look? Viewing, embodiment, performance, showgirls, and art practice. CARR, Alison J. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/19426/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/19426/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. How Do I Look? Viewing, Embodiment, Performance, Showgirls, & Art Practice Alison Jane Carr A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy ProQuest Number: 10694307 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10694307 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Declaration I, Alison J Carr, declare that the enclosed submission for the degree of Doctor of Philosophy, and consisting of a written thesis and a DVD booklet, meets the regulations stated in the handbook for the mode of submission selected and approved by the Research Degrees Sub-Committee of Sheffield Hallam University. -
Keyboard Music
Prairie View A&M University HenryMusic Library 5/18/2011 KEYBOARD CD 21 The Women’s Philharmonic Angela Cheng, piano Gillian Benet, harp Jo Ann Falletta, conductor Ouverture (Fanny Mendelssohn) Piano Concerto in a minor, Op. 7 (Clara Schumann) Concertino for Harp and Orchestra (Germaine Tailleferre) D’un Soir Triste (Lili Boulanger) D’un Matin de Printemps (Boulanger) CD 23 Pictures for Piano and Percussion Duo Vivace Sonate für Marimba and Klavier (Peter Tanner) Sonatine für drei Pauken und Klavier (Alexander Tscherepnin) Duettino für Vibraphon und Klavier, Op. 82b (Berthold Hummel) The Flea Market—Twelve Little Musical Pictures for Percussion and Piano (Yvonne Desportes) Cross Corners (George Hamilton Green) The Whistler (Green) CD 25 Kaleidoscope—Music by African-American Women Helen Walker-Hill, piano Gregory Walker, violin Sonata (Irene Britton Smith) Three Pieces for Violin and Piano (Dorothy Rudd Moore) Prelude for Piano (Julia Perry) Spring Intermezzo (from Four Seasonal Sketches) (Betty Jackson King) Troubled Water (Margaret Bonds) Pulsations (Lettie Beckon Alston) Before I’d Be a Slave (Undine Smith Moore) Five Interludes (Rachel Eubanks) I. Moderato V. Larghetto Portraits in jazz (Valerie Capers) XII. Cool-Trane VII. Billie’s Song A Summer Day (Lena Johnson McLIn) Etude No. 2 (Regina Harris Baiocchi) Blues Dialogues (Dolores White) Negro Dance, Op. 25 No. 1 (Nora Douglas Holt) Fantasie Negre (Florence Price) CD 29 Riches and Rags Nancy Fierro, piano II Sonata for the Piano (Grazyna Bacewicz) Nocturne in B flat Major (Maria Agata Szymanowska) Nocturne in A flat Major (Szymanowska) Mazurka No. 19 in C Major (Szymanowska) Mazurka No. 8 in D Major (Szymanowska) Mazurka No. -
Stravinsky, the Fire-Bird, "The Fire-Bird's Dance,"
/N81 AI2319 Ti VILSKY' USE OF IEhPIAN IN HIS ORCHESTRAL WORKS THE IS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of M1- JiROF JU.SIC by Wayne Griffith, B. Mus. Conway, Arkansas January, 1955 TABLE OF CONTENT4 Page LIST OF ILLUSTRATIONS . ,.. , , * . Chap ter I. THE USE OF PIANO1E A' Al ORCTHE TL I:ThUERIMT BEFOR 1910 . , , . , , l STRAICY II. S U6 OF 2E PIANO S E114ORCHES L ORK HIS OF "RUSIA PERIOD . 15 The Fire-Bird Pe~trouchka Le han u hossignol III. STAVIL C ' 0 USE OF TE PI 40IN 9M ORCHESTRAL .RKS OF HIS "NEO-CLASSIO" PERIOD . 56 Symphonyof Psalms Scherzo a la Russe Scenes IBfallet Symphony~in Three Movements BIIORPHYy * - . 100 iii 1I3T OF ILLUSTRATIONS Figure Page 1. Berlioz, Leio, Finale, (from Berlioz' Treatise on Instrumentation, p . 157) . 4 2. Saint-Saena, ym phony in 0-minor, (from Prof. H. Kling's Modern Orchestration and Instrumentation, a a.~~~~*f0" 0. 7 p. 74) . 0 0 * * * 3. Moussorgsky, Boris Godunov, "Coronation Scene,'" 36-40 mm.f . -a - - --. " " . 10 4. oussorgsky, Boris Godunov, "Coronation :scene," mm. 241-247 . f . * . 11 5. imsky-Korsakoff, Sadko , (from rimkir -Korsakoff' s Principles of 0rchtiration, Lart II, p. 135) . 12 6. ximsky-Korsakoff, The Snow aiden, (from Zimsky torsatoff'c tTTrin~lecs ofhOrchestration, Part II, . 01) . - - . - . * - - . 12 7 . i s akosy-. o Rf, TVe <now %aiN , (f 0r 1;i s^ky Korsaoif ' s Prciniles of Orchestration, Part II, 'p. 58) . aa. .a. .a- -.-"- -a-a -r . .". 13 8. Stravinsky, The Fire-Bird, "The Fire-Bird's Dance," 9. -
The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1. -
Things Seen on Right and Left Erik Satie
image A Derain Art & Heritage Collections Jack in the Box Projet de costume pour une danseuse, 1926 Cultural Musing Cabinet 8 31 Alfred Frueh Portrait of Erik Satie Rare Books & Special Collections in collaboration with the J M Coetzee Erik Satie, Socrates Postcard, Paris 1920 Centre for Creative Practice and Art & Heritage Collections present: and John Cage Printed on card, 14 x 9 cm In the years after the First World War, Satie’s Alfred (‘Al’) Frueh (1880 – 1968) was an style moved towards what was to become known American cartoonist and caricaturist. He studied Things seen on right and left as neo-classicism. Although his reputation was in Paris from 1909 to 1924, contributing regularly based on his humorous works, Satie’s later music to the New York World, and to New Yorker from Erik Satie in words, pictures and music sometimes has a more serious character. His neo- 1925 onwards. This portrait comes from the year classical masterpiece is the ‘symphonic drama’ that Socrate was premiered. Socrate (Socrates). Following his death in 1925, Exhibition 32 Erik Satie Marche de Cocagne. Satie’s music fell into neglect until the 1950s For three trumpets in C Level 1 & 3, Barr Smith Library when there was a revival of interest in his music Reproduction of Satie’s manuscript as in the United States, particularly due to advocacy frontispiece to Almanach de Cocagne, 9 June until 24 July 2011 of the composer John Cage. Editions de la Sirène, Paris 1920 29 Erik Satie Socrate, Symphonic Drama in 223 pages, original soft cover, 11 x 16.5 cm three parts for piano and voice, composed for the Almanach de Cocagne was an annual performances of Princess Edmond de Polignac. -
H-France Review Vol. 15 (August 2015), No. 104 Juliet Bellow, Modernism on Stage
H-France Review Volume 15 (2015) Page 1 H-France Review Vol. 15 (August 2015), No. 104 Juliet Bellow, Modernism on Stage: The Ballets Russes and the Parisian Avant-Garde. Farnham and Burlington, VT: Ashgate, 2013. xviii + 280 pp. $119.95 U.S. (cl). ISBN-10: 1409409112. Review by Danijela Špirić-Beard, University of Nottingham. In her monograph Modernism on Stage: The Ballets Russes and the Parisian Avant-Garde, Juliet Bellow uses four relatively unexplored productions--Parade (1917), Cléopâtre (1918), Le Chant du Rossignol (1920) and Le Bal (1929)--to forge an alternative narrative about the Ballets Russes and to restore the company’s central position within the Parisian art world of the 1910s and 1920s. Bellow’s focus on designs by Pablo Picasso, Sonia Delaunay, Henri Matisse and Giorgio de Chirico highlights the complex relationship between Diaghilev’s troupe and the Parisian avant-garde, and spotlights the fascinating and challenging process of transferring two-dimensional artwork (paintings/sketches) to the three-dimensional space of the stage (stage designs/costumes). Modernism on Stage analyses these transformations, tracing forms and ideas as they migrated from painting to stage and back again, and then considers the impact such collaborative ventures had on the artists’ outputs as a whole. In doing so, Bellow prompts new readings of each artist’s oeuvre and of the Ballets Russes in the context of Parisian avant-garde experiments with cubism, simultanism, fauvism and surrealism. The book comprises five main chapters, with a short introduction and a conclusion. The first chapter contextualizes orientalism and the commercial nature of Diaghliev’s pre-war enterprise (Schéhérazade, the Firebird), offset by subsequent radical experiments in L'Après-midi d'un Faune and the Rite of Spring (especially Nijinsky’s choreography). -
Todd Bolender and Janet Reed Were Dancing in Pied Piper When It Hap- Pened, One of Those Unforeseen Stage Mishaps That Can Wreck a Performance Completely
1 Todd Bolender and Janet Reed were dancing in Pied Piper when it hap- pened, one of those unforeseen stage mishaps that can wreck a performance completely. Set to Aaron Copland’s jazzy Concerto for Clarinet and String Orchestra, Pied Piper was Jerome Robbins’s fourth work for New York City Ballet. Its vocabulary was in the same vein as Fancy Free and Interplay, a blend of classical steps, modern dance, and social dancing. For the finale, he included a jitterbug move, in which Bolender had to swing Reed over his head and around his neck, her legs in a wide second position, and from there to the floor directly in front of him. In the early 1950s, when this per- formance took place, Bolender had begun wearing a wig over his thinning hair that fit over his scalp like a hat. At this particular performance, all was going well, until Bolender, after swinging Reed down to the floor, looked down and thought, “My God, has she lost her tights” at the same moment that Reed looked in the same direction. They both broke into uncontrol- lable laughter, fortunately just as the corps came rushing onto the stage and covered their hasty exit, Bolender’s much-loathed wig (“it had curls and things,” he told Deborah Jowitt) restored to his head.1 By 1952, when it’s likely this performance took place,2 Bolender and Reed had been friends since Reed arrived in New York in January 1942. They had been dancing together in Robbins’s and Balanchine’s work since 1949, when Reed joined City Ballet. -
Deepa Mehta (See More on Page 53)
table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region. -
Nationalism, Primitivism, & Neoclassicism
Nationalism, Primitivism, & Neoclassicism" Igor Stravinsky (1882-1971)! Biographical sketch:! §" Born in St. Petersburg, Russia.! §" Studied composition with “Mighty Russian Five” composer Nicolai Rimsky-Korsakov.! §" Emigrated to Switzerland (1910) and France (1920) before settling in the United States during WW II (1939). ! §" Along with Arnold Schönberg, generally considered the most important composer of the first half or the 20th century.! §" Works generally divided into three style periods:! •" “Russian” Period (c.1907-1918), including “primitivist” works! •" Neoclassical Period (c.1922-1952)! •" Serialist Period (c.1952-1971)! §" Died in New York City in 1971.! Pablo Picasso: Portrait of Igor Stravinsky (1920)! Ballets Russes" History:! §" Founded in 1909 by impresario Serge Diaghilev.! §" The original company was active until Diaghilev’s death in 1929.! §" In addition to choreographing works by established composers (Tschaikowsky, Rimsky- Korsakov, Borodin, Schumann), commissioned important new works by Debussy, Satie, Ravel, Prokofiev, Poulenc, and Stravinsky.! §" Stravinsky composed three of his most famous and important works for the Ballets Russes: L’Oiseau de Feu (Firebird, 1910), Petrouchka (1911), and Le Sacre du Printemps (The Rite of Spring, 1913).! §" Flamboyant dancer/choreographer Vaclav Nijinsky was an important collaborator during the early years of the troupe.! ! Serge Diaghilev (1872-1929) ! Ballets Russes" Serge Diaghilev and Igor Stravinsky.! Stravinsky with Vaclav Nijinsky as Petrouchka (Paris, 1911).! Ballets -
The Cult of Socrates: the Philosopher and His Companions in Satie's Socrate
Utah State University DigitalCommons@USU Undergraduate Honors Capstone Projects Honors Program Spring 2013 The Cult of Socrates: The Philosopher and His Companions in Satie's Socrate Andrea Decker Moreno Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/honors Part of the Music Commons Recommended Citation Moreno, Andrea Decker, "The Cult of Socrates: The Philosopher and His Companions in Satie's Socrate" (2013). Undergraduate Honors Capstone Projects. 145. https://digitalcommons.usu.edu/honors/145 This Thesis is brought to you for free and open access by the Honors Program at DigitalCommons@USU. It has been accepted for inclusion in Undergraduate Honors Capstone Projects by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE CULT OF SOCRATES: THE PHILOSOPHER AND HIS COMPANIONS IN SATIE’S SOCRATE by Andrea Decker Moreno Thesis submitted in partial fulfillment of the requirements for the degree of HONORS IN UNIVERSITY STUDIES WITH DEPARTMENTAL HONORS in Music – Vocal Performance in the Department of Music Approved: Thesis/Project Advisor Departmental Honors Advisor Dr. Cindy Dewey Dr. Nicholas Morrison Director of Honors Program Dr. Nicholas Morrison UTAH STATE UNIVERSITY Logan, UT Spring 2013 The Cult of Socrates: The philosopher and his companions in Satie's Socrate Satie's Socrate is an enigma in the musical world, a piece that defies traditional forms and styles. Satie chose for his subject one of the most revered characters of history, the philosopher Socrates. Instead of evaluating his philosophy and ideas, Satie created a portrait of Socrates from the most intimate moments Socrates spent with his followers in Plato's dialogues. -
SATIE Gymnopédies
1000 YEARS OF CLASSICAL MUSIC SATIE Gymnopédies VOLUME 74 | THE MODERN ERA FAST FACTS • Erik Satie is famous for his deeply eccentric nature, which extended to his dress (at one point he bought seven identical velvet suits and then, for more than ten years, wore nothing else), his eating habits (he claimed to eat only white food: ‘eggs, sugar, shredded bones, the fat of dead animals, veal, salt, coconuts, SATIE chicken cooked in white water, mouldy fruit, rice, turnips, sausages in camphor, pastry, cheese (white Gymnopédies varieties), cotton salad, and certain kinds of fish, without their skin’), and the instructions he gave to those performing his music: his scores are full of enigmatic notes such as ‘Light as an egg’, ‘Open your head’, ERIK SATIE 1866–1925 ‘Work it out yourself’ and ‘Don’t eat too much’. Trois Gymnopédies [9’44] 1 No. 1: Lent et douloureux (Slow and full of suffering) 3’37 • His sharp wit, irreverence and refusal to do as expected led him to reject the big, lush Romantic 2 No. 2: Lent et triste (Slow and sad) 3’06 tradition of composers like Wagner, and turn instead to shorter, simpler pieces in which melody was 3 No. 3: Lent et grave (Slow and solemn) 2’54 the central element. 4 Je te veux (I Want You) 5’17 • Satie broke new ground in many different musical ways. His familiarity with the world of cabaret (he [7’16] Trois Gnossiennes supported himself for several years by working as a pianist at Le Chat Noir and other Montmartre 5 No.